Chapter I: Part 1

PRIMARY AND SECONDARY COLORS ]

All colors in this “color chart” are made from the primary colors, yellow, red and blue.

SECONDARY AND TERTIARY COLORS
]

Overlapping plates on this sheet are printed in full color. Tints are avoided in order to show secondary and tertiary colors in full strength.

To lighten secondary or tertiary colors add more of the lightest color of the combination. For example, if a lighter shade of primary green is more desirable, use more yellow; to deepen, add blue; to use as a tint, add white.

The above plates illustrate the primary and secondary colors broken up
with light.
]

Color Mixing Guide
FOR
ARTISTS, PAINTERS, DECORATORS, PRINTING PRESSMEN, SHOW CARD WRITERS,
SIGN PAINTERS, COLOR MIXERS
GIVES COLOR MIXTURES BY PARTS

About three thousand colors and shades can be made from
yellow, red, blue, black and white. This little Color
Mixing Guide is worth many dollars, as it shows you
exactly how, without waste of time and material.

Compiled by John L. King

NEW YORK;
J. S. OGILVIE PUBLISHING COMPANY
57 ROSE STREET

No possession can surpass or even equal a good library to the lover of books. Here are treasured up for his daily use and delectation riches which increase by being consumed, and pleasures which never cloy.

JOHN ALFRED LANGFORD.

Copyright, 1923,
J. S. OGILVIE PUBLISHING CO.

WHAT IS COLOR?

Color is an effect caused by the reflection of certain rays of light. In order to understand this statement, it is necessary that we know what light is. Science teaches us that light is a form of intense vibration which reaches the earth direct from the sun. These vibrations affect certain nerves of the retina of the eye, causing the sensation known as color.

In the study of color, or in practice, it is necessary that we have a standard. The standard colors are those seen in the spectrum or in the rainbow. These colors are selected as standard colors because they are the true colors as reflected by pure light and they never change.

In dealing with pigments the primary colors are yellow, red and blue. They are called primary colors because all other colors are produced from them, and because they can not be produced by mixing other colors. In other words, they are the original colors from which all other colors are produced.

WARM AND COLD COLORS

Cold and warm colors: Red warm, blue cold, yellow bright. White, which is also a cold color when added to black makes a cold gray. Yellow added to red forms a warm orange.

MEANING OF COLORS

White is said to mean purity; blue, fidelity or truth; red, love or sacrifice; green, envy; pink, modesty; violet, innocence; yellow, jealousy; black, sorrow or distress, and lavender, passion.

ART OF COLOR MIXING

Mixing colors is an art in itself. With a combination of the chief colors—red, yellow, blue (and black and white), thousands of shades and hues may be produced.

Mixed in various proportions, either in twos, or all three together, these three colors produce every hue in nature or in art, every tint that is physically possible.

The primary colors are yellow, red and blue.

The secondary colors are orange, violet and green.

The tertiary colors are citron, russet and olive.

The secondary colors are made as follows: Yellow and red make orange, red and blue make violet, yellow and blue make green.

The tertiary colors are mixed from the secondary colors as follows: Orange and violet make russet, violet and green make olive, orange and green make citron.

Black, white and gray are natural tones in which no color is apparent: White pales but does not brighten any color. Yellow is the brightening color and always stands out strong and advancing; to deepen a color, use its complementary color; to deepen yellow add purple; to deepen red add blue; to deepen blue add burnt sienna, then you will have purity of color.

THE TWO EXTREMES OF WARM AND COLD

Vermilion or any other red of orange hue (warm). Bluish blue (cold). These two colors mixed together in certain proportions form light brown, dark brown, red-brown, neutral brown and scarlet red. Purple made from this combination is inferior.

COLOR BLINDNESS

Today, color-blindness is a serious difficulty in the way of a person earning a living. A generation or so ago, it was considered a matter of small importance. Many persons, suffering from the disease, went through life without knowing they were afflicted. The only persons, as a class, who were greatly affected by the problem were railroad men, who had to take tests for the distinction of colors.

Today, with the common use of automobiles and the rapidly growing use of colored lights for signs and signals, color-blindness becomes an important matter.

The defect is hereditary and much more common in men than in women. A woman may have normal eyesight herself and yet transmit the color-blindness to her children. This is because it is what the geneticist calls a recessive character. A man may have a color-blind father and still not transmit the defect. But a color-blind woman, married to a color-blinded man, transmits the defect to all off-springs, both sons and daughters.

ALTERING COLOR

To brighten color, add yellow; to give it warmth, add red. To brighten and warm, add orange. To deepen and cool, add blue. To cool and lighten, add green; to deepen and warm, add purple.

Ultramarine blue contains sulphur and will tarnish with admixtures of pigment containing lead. Substitute zinc white.

PIGMENT

Pigment is any color preparation used by painters, printing pressmen, etc. Coloring matter is found in pigment cells of plants, tissues of animals and fish; in mineral form found in the earth, from coal, vegetables, etc.

Pigments may be divided into two classes, the organic and the inorganic. Organic pigments are compounds of carbon and the inorganic all other pigments.

Paints and printers’ inks are made from the same pigments; the difference is in the mordant. It all depends on the nature of the object to be colored. The mordant is the fixer which holds the pigment.

The selection of color material should be carefully made. Purchase from reliable dealers an assortment of reds, blues and yellows, some black and white.

NATURE’S COLOR CHART OF HARMONIOUS COMBINATIONS

Nature has given us a wonderful color chart, of harmonious colors mingled together.

Flowers furnish countless color combinations which are perfect in every detail. Colors ranging from soft, delicate tints to deep, rich solids, are found in great variety.

Observe also the birds, whose plumage range from the most gorgeous to the so-called jet black raven or black birds; even they when viewed in sun or strong light reveal a picture of dazzling beauty. Beautiful tones and semi-tones of purple, green and blue blending perfectly with the black.

It is unnecessary to mention in detail, the fields, woods and forest, the seas, the lofty, stately mountain peaks of somber hues silhouetted against an azure sky or viewed in the setting sun.

COLOR HARMONY

The secret of harmony is equal value, complementary colors are the color or colors which, with any color or colors mentioned, make the three primary colors, which constitute white light. For example if given color is a primary, its complementary color is composed of the other two primary colors; the complementary color of blue is orange, red and yellow. And if given color be a secondary, its complementary color is the remaining color. Thus the complementary color of green, blue and yellow is red.

It is well to bear in mind whether the subject to be treated is a landscape scene, color design, form to be printed in colors, sign or house painting that equal value of colors is the correct way.

Any subject that has been ill-treated with too much red, or colors which do not harmonize, form a combination that irritates.

When colors are correctly used the effect is soothing. Remember that red is the most irritating color and a little will balance well with a large amount of other colors.

The object to be painted or printed has a lot to do with the selection of colors. It is well to study the subject carefully.

Printing pressmen have their problems. When printing on white material which is a neutral color he does not encounter the obstacles as when printing colored inks on colored material.

All fine pictorial color printing is executed on white material, this being the only way to get pure coloring, as it is generally printed with transparent ink.

MIXING TINTS

Paints, Inks, Etc.

Tint mixing is both interesting and profitable, but in order to obtain the best results, first-class materials are very essential. Great care should be exercised in the selection of this material, as the product of one manufacturer often varies, as to shade with that of another manufacture, therefore it is well for the color mixer to make it a rule, never to select colors promiscuously.

With the following colors at hand all known colors may be obtained. Lemon yellow, which is of greenish hue; yellow of orange hue; red with orange hue; red which has a bluish cast. Blue with a reddish tone, also blue with a leaning toward green. A liberal supply of white and some black which does not contain blue.

To produce a pure tint you must first produce a pure base of the primary colors. White, which is a neutral color, does not alter the original hue, it merely pales. In making pure greens from yellow and blue, the yellow and blue should contain none of the primary color red; use a greenish yellow and greenish blue. For pure orange use a yellow and red which contain none of the primary blue; the yellow must be of reddish hue, the red of yellowish cast. Pure violets are made with bluish reds and reddish blues. The red and blue should not contain any of the primary color yellow.

Gray tint is white with black in various proportions. Neutral gray must be mixed from a black which is unadulterated with a mixture of blue. To warm, add a touch of red; to cool, add a small amount of blue. The object in making neutral gray as above mentioned is to make possible a true blending with other colors. For example, a bluish gray is desired, add blue to neutral gray until the exact shade is acquired; for orange gray add a touch of orange, etc., etc.

Primary colors are made neutral by admixture, a medium or neutral yellow is obtained by mixing lemon yellow with orange yellow. The greenish tinge of lemon yellow is absorbed by the reddish tinge of orange yellow. Neutral red and blue is made in the same manner; likewise the blues.

As has been previously mentioned, white when added for tinting purposes does not alter the hues. For example, the result of adding white in any quantity to purplish red is a purplish pink tint, the purple hue will remain.

When warm tints are desired use a warm base. For warm pink select a red of orange hue, a cool pink from bluish red, a neutral pink must be made from a neutral base which is the result of adding primary bluish red and primary yellowish red.

TO MATCH SPECIAL COLORS

In mixing special colors or shades for large jobs, first mix a small quantity, write down exact proportions either by weight or volume, keep a record for future reference.

If you have failed to keep a record and have a small quantity on hand and wish to duplicate it exactly, put a small amount on a piece of white paper and after mixing a little dribble or let it string across the original sample you can get a perfect match. Still another way; brush a small quantity on a piece of transparent glass, add a like amount of the paint you mix beside it and hold to the light.

To match a specimen in printing ink; mix the color (small quantity), ink up press, pull an impression then with your make ready knife cut a small hole (any shape) in the most solid part of print, lay this over a solid part of sample.

ORIGIN AND DEFINITION OF COLORS.

Alumina—One of the earths containing aluminum.

Aureolin Yellow—A transparent, delicate medium yellow. Is a nitrate of cobalt.

Amber—A mineralized pale yellow, and sometimes reddish or brownish resin of extinct pine trees.

Ambergris—A morbid secretion of the spermaceti whale of solid opaque ash color.

Aniline—A substance obtained from indigo and benzol, a product of coal tar.

Amaranth—The unfading flower; a color inclined to purple.

Antwerp Blue—A transparent color lighter than prussian blue; splendid to mix with yellow for greens and tints.

Bronze Blues—Made by mixtures of ferro and ferricyanides of iron and potassium or sodium. Bronze blue, so called for its bronzy effect. It is an opaque, deep blue, used almost exclusively by printers.

Bronzes—Are pulverized gold, brass, copper and aluminum. Can be dyed with aniline colors such as violet, green, etc.

Bone Black—Made by charring bones which are then finely ground. Semi-transparent.

Burnt Sienna—Raw sienna when burnt yields a brownish orange, quite transparent.

Buttercup—Common species of ranunculus, having bright yellow cup-shaped flowers.

Bistre Brown—Obtained from soot of wood fires. A deep citron brown.

Cerulean Blue—A compound of oxides of tin and cobalt. Opaque, azure blue.

Claret—A red wine color.

Carmine—A very deep toned crimson red, of the lake family.

Cobalt—A mineral of grayish color, and a metal obtained from it, which in the state of oxide yields a permanent blue pigment.

When cobalt blue is unobtainable substitute ultramarine blue.

Cobalt Blue—A deep, rich, transparent blue of violet hue. Is often substituted for ultramarine.

Cobalt Green—Semi-transparent bluish green. This color and cobalt blue are of French origin, and the process of manufacture is practically the same.

Cadmium—A metal related to zinc; produces a bright semi-transparent yellow or orange hue.

Chrome Yellows—Made by precipitation of potassium bichromate, with lead acetate, varying in shade from pale yellow to deep orange. They are opaque, and of good covering strength.

Chinese White—A semi-transparent white of zinc oxides, equally as white as flake white.

Chrome—(Chromium). A metal which produces many colors and semi-colors. Chrome green now takes the place of the dangerous arsenical green pigment that was formerly used in printers’ ink, enamel and wall paper.

Chrome Greens—Are a mixture of chrome yellow with blue.

Carbon Black—Soot formed with natural gas and forced through finely woven silk. One thousand cubic feet of gas being required to obtain one pound of black. Opaque.

Crimson Lake—Transparent red, similar to carmine, but less scarlet.

Cremnitz White Lead—An opaque white. Made permanent by coating with varnish.

Coal Tar Dyes—Are derived from coal tar by distillation and other chemical processes.

COCHINEAL

Much credit is due the cochineal as most all of our brightest reds can be attributed to them.

Scarlet and crimson furnish the base for carmine and lake. It requires seventy thousand dried bodies of this small insect to equal one pound of color.

The task of gathering cochineal is a tedious one. They are gathered by gently brushing them into cloth sacks with brushes made of fur just before egg laying time, as only the bodies of the female can be used. At this period they are scarlet, the brightest of all reds. Later they assume a deeper cast called crimson.

Dye is a colored substance which can be made soluble in either water or oil.

Dragon’s Blood—A resinous substance from the East Indies. A dull semi-transparent red.

Emerald—A stone or gem of bright green.

Fawn—Light brown.

Flake White—A carbonate of lead. An opaque fine white.

French Blue—An artificial imitation of ultramarine, discovered by French chemists early in the nineteenth century. It is more transparent than the original, and an excellent imitation.

Gypsum—A mineral found in a compact state and crystallized state, as alabaster, or in the form of soft, chalky stone which by heat becomes the fine white powder known as plaster of paris.

Geranium Lake—A bright transparent red of bluish hue, also of yellowish hue. Should not be mixed with earth pigments such as raw sienna, ochers, umbers, etc. Geranium lake if a coal tar product is more permanent than if obtained from other sources.

Gamboge—A gum resin from trees, native of Ceylon. Is a bright transparent yellow of little depth.

Gallstone—Rich deep toned fugitive yellow from the gall bladder of oxen. Yellow carmine can be substituted.

Heliotrope—Flower of a grayish purple color.

Ivory Black—A rich transparent black, from charred ivory.

Indigo Blue—Deep blue from the leaves of the Indigofera plant of India.

Intense Blue—Purified Indigo blue.

Indian Yellow—Deposit obtained from the urine of the camel. A beautiful yellow.

Indian Red—An earth pigment of Bengal. Ranges in color from a light, bright red to a dark red of purplish hue; nearly opaque; mixes well with all other colors except indigo. When genuine Indian red and indigo come into contact with one another, they soon assume a faded shade resembling rust.

Indian red substitute may be mixed with indigo substitute in safety; tints made are more permanent than obtained from the originals.

Lake Colors—The term “lake” as applied to color pigments, has reference to the method of manufacture. The pigment is produced by the saturation of a base with a dye in it, which is then ground in varnish.

Avoid mixing lake colors with raw earthen pigments if permanency is desired.

Lamp Black—Is made by burning creosote or tar oil. Opaque.

Lacquer—A varnish which has the appearance of enamel.

Maroon—A brownish crimson or claret color.

Mauve—A brilliant red violet, of the lake group. Also of a bluish violet hue. The most fugitive of all colors.

Marigold—Several composite plants bearing golden-yellow flowers.

Magenta is a brilliant blue-red color derived from coal tar.

Madder red is obtained from the madder plant roots, a climbing perennial.

Mastic—Resin from a tree of southern Europe, yielding a varnish.

Mummy Yellow—The ancients obtained a dark yellow pigment by grinding mummified human bodies.

Naples Yellow—A pale semi-opaque, straw colored yellow.

The greenish hue of prussian blue may be neutralized with a touch of crimson lake.

New Blue—Pale ultramarine.

Prussian Blue—Of German origin. A deep blue, possessing a greenish undertone. A transparent and good covering pigment.

Pure Scarlet—An iodide of mercury. More brilliant than vermilion and opaque.

Pipsissewa—An evergreen plant bearing waxen flesh-colored flowers.

Permalba White—A fine opaque white for artists, etc. Contains neither lead or zinc. Can safely be mixed with ultramarine and all other pigments. A product of an American manufacturer.

Red Lead—Used on iron prevents rust. Is an inexpensive product of lead, largely used as barn paint. Possesses good covering qualities.

Rose Madder or Madder Lake—A beautiful transparent rose color of a clove or flesh pink hue. Alizarin, a coal tar product, now affords a better substitute than the original pigment obtained from the madder plant.

Raw Sienna—An ocherous transparent earth pigment of orange yellow, from Toscany.

Saffron—A bulbous plant, the stigmas of which are used as a coloring. Yields an orange red extract.

Some blacks are precipitated oxide of iron and aniline black made from coal tar dye with the addition of blue to offset the natural grayish cast.

Spruce—A name given to several species of pine trees. Shades vary, but the general hue is between a light yellowish brown and yellowish orange.

Sepia—A brown substance taken from the sepia cuttle fish. This dark inky substance which he emits into the water thoroughly screens him from enemies.

Scarlet Lake—A transparent red of scarlet hue.

Snuff Brown—Pulverized tobacco.

Sienna—An ocherous earth. Sienna yields an orange yellow tint; burnt sienna a reddish brown.

Turquoise—A stone or gem of greenish blue.

Tantalum—A rare metallic element obtained as a black powder from several minerals.

Imitation Ultramarine Blue—Is made by heating together, China-clay soda, sulphur and charcoal.

Umber—a soft earthy pigment of an olive brown color in the raw state; burnt umber has a reddish hue and oftimes called turkey umber.

Ultramarine Blue—A rare and durable sky blue obtained from the mineral lapis-lazuli, a stone found in Asia. The tedious mechanical process of extracting the color, makes it the most costly of all pigments.

Ultramarine Ash—Bluish gray of azure hue, residue of ultramarine.

Venetian Red—A semi-transparent bright red with little orange.

Vine Blue—Is made from charred vine twigs. Is imitated with acetylene gas.

Vernis Martin—French name for imitation of Chinese and Japanese Lacquer, which resembles enamel. Brought to perfection by the Martin brothers in the reign of Louis XV of France.

Vandyke Brown—Prepared from a bituminous ochre. A slow drying, rich, semi-transparent brown, so named in honor of the eminent artist, Vandyke. Very sensitive to sunlight; requires a liberal amount of japan dryer.

Vermilion Red—A sulphide of mercury. Varies in hue from crimson and scarlet to deep orange. Opaque.

White Lead—A hydrated carbonate of lead, obtained as a dry powder. Opaque; covers well.

Whitewash—A composition of lime and water, or of whiting.

Yellow Ochre—An earth pigment varying in color from a light yellow to an orange brown; possesses little transparency.

COMPLEMENTARY AND HARMONIOUS COLOR COMBINATIONS

For Painters, Decorators, Show Card Writers, Sign Painters, Art
Instructors, Students, Printers, Pressmen, Etc.

Complementary color combinations may be used full strength or as soft delicate tints, the hue and harmony will remain.

Azure Blue with very light gray.
Azure Blue with white.
Amber with straw.
Amber with cream.
Amber with old ivory.
Blue with red.
Brownish Buff with old ivory.
Deep Cream or Buff with ivory.
Deep Cream with light sage green.
Green with red.
Greenish Blue with light pinkish gray.
Gray with white.
India Tint with Persian orange.
Light Olive Green with ivory.
Light Brownish Buff with cream.
Light Tan with straw.
Light Tan with old ivory.
Lavender with white.
Lavender with gray.
Lavender with old gold.
Lavender with old ivory.
Lavender with ivory.
Lavender with cream.
Lavender with straw.
Lavender with pea green.
Lavender with regular pink.
Lavender with dull pink.
Lavender with purplish pink.
Lavender with orange.
Lavender with golden rod.
Medium Tan with light brownish buff.
Medium Blue with old ivory.
Medium Blue with azure blue.
Old Rose with old ivory.
Old Rose with pearl gray.
Old Rose with azure blue.
Old Rose with light ivory.
Old Rose with cream.
Old Rose with straw.
Old Rose with light buff.
Purple with red.
Purple with green.
Pearl Gray with light ivory.
Red with blue.
Sage Green with light ivory.
Silk Green with pale lavender.
Sea Green with old ivory.
Tan with old rose.
Turquoise Blue with lavender.
Violet with orange.
Violet with red.
Violet with brown.
Violet with pink.
Violet with salmon.
Violet with buff.
Violet with white.
Violet with amber.
Violet with ivory.
Violet with old ivory.
Violet with cream.
Violet with straw.
Violet with raw sienna.
Violet with burnt sienna.
Violet with white.
Violet with gray.
Violet with drab-gray.
Violet with pink gray.
Violet with brown gray.
Violet with emerald green.
Violet with olive green.
Violet with sage green.
Violet with sea green.
Violet with apricot.
Violet with cherry.
Violet with scarlet.
Violet with russet.
Violet with old gold.
Violet with brass.
Violet with silver.
Violet with copper.
Violet with bronze.
Vermilion with sage green.
Yellow with purple.
White with black.
Yellow with green.

COLOR MIXTURES BY PARTS

Color Desired Parts

Azure Blue—50 white; 1 ultramarine blue.

Brilliant—4 Indian red; 1 madder lake.

Blue-Gray—100 white; 3 Prussian blue; 1 black.

Bright Blue—20 zinc white; 1 cobalt blue.

Blue Grass—7 white; 2 Paris green; 1 Prussian blue.

Blue—12 borate of lime; 6 oxide of zinc; 10 litharge; 9 feldspar; 4
oxide of cobalt.

Blue Black—9 black; 4 Prussian blue.

Bronze Green, Light—3 raw turkey umber; 1 medium chrome yellow.

Bronze Green, Medium—5 medium chrome yellow; 3 burnt turkey umber; 1
black.

Bronze Green, Dark—20 black; 2 medium chrome yellow; 1 dark orange
chrome.

Bottle Green—5 medium chrome green; 1 black.

Brown Stone—18 burnt umber; 2 dark golden ocher; 1 burnt sienna.

Cherry Red—50 vermilion; 50 No. 40 carmine.

Coffee Brown—6 burnt turkey umber; 2 French ocher; 1 burnt sienna.

French Blue—5 cobalt blue; 2 zinc white.

Flesh Color—19 French ocher; 1 deep English vermilion.

Fern Green—5 lemon chrome yellow and 1 each of light chrome, green and
black.

Foliage Green—3 medium chrome yellow; 1 brownish black.

Foliage Brown—50 Vandyke brown; 50 orange chrome yellow.

Green Blue—100 white; 5 lemon chrome yellow; 3 ultramarine blue.

Gold Russet—5 lemon chrome yellow; 1 light Venetian red.

Hazy Blue—60 white; 16 ultramarine blue; 1 burnt sienna.

Indian Brown—50 light Indian red; 50 French ocher; 50 black.

Mahogany—3 dark golden ocher; 1 dark Venetian red.

Maroon, Light—5 dark Venetian red; 1 black.

Maroon, Dark—9 dark Indian red; 1 black.

Mineral Blue—5 white; 4 cobalt blue; 2 red madder lake; 1 black.

Olive Green—7 light golden ocher; 1 black.

Orient Blue—25 white; 2 Prussian blue; 1 lemon chrome yellow.

Ocherous Olive—9 French ocher; 1 raw umber.

Orange Brown—50 burnt sienna; 50 orange chrome yellow.

Oriental Red—2 light Indian red; 1 red lead.

Purple—8 crocus martis; 2 red hematite; 1 oxide of iron.

Purple—2 rose pink; 1 ultramarine blue.

Purple, Black—3 black; 2 rose pink.

Purple, Brown—5 dark Indian red; 1 each of ultramarine blue and black.

Roman ocher—23 parts French ocher; 1 each of burnt sienna and burnt
umber.

Royal Blue, Dark—18 ultramarine blue; 2 Prussian blue; to lighten use
white.

Royal Purple—2 ultramarine blue; 1 carmine or lake.

Russet—14 orange chrome yellow; 1 medium chrome green.

Royal Blue—34 white; 19 ultramarine blue; 2 Prussian blue; 1 rose
madder or rose lake.

Seal Brown—10 burnt umber; 2 golden ocher; 1 burnt sienna.

Snuff Brown—50 burnt umber; 50 light golden ocher.

Solid Blue—5 white; 1 ultramarine blue.

Sapphire Blue—2 zinc white; 1 chinese blue.

Terra Cotta—2 white; 1 burnt sienna; 2 French ocher; 1 Venetian red.

Tuscan Red—9 Indian red; 1 rose pink.

Turquoise Blue—20 white; 3 ultramarine blue; 1 lemon chrome yellow.

Violet—3 ultramarine blue; 2 rose lake; 1 black.

Yellow—4½ parts tin ashes; 1 crude antimony; 1 litharge and 1 red
ocher.

Yellow, Amber—10 medium chrome yellow; 7 burnt umber; 3 burnt sienna.

Yellow, Canary—5 white; 2 permanent yellow; 1 lemon chrome yellow.

Yellow, Golden—10 lemon chrome yellow; 3 deep orange chrome; 5 white.

Yellow, Brownstone—3 white; 1 lemon chrome yellow; 1 permanent yellow.

TINT MIXTURES BY PARTS

Green Tints

Color Desired Parts

Apple Green—50 white; 1 medium chrome green.

Citron Green—100 white; 3 medium chrome yellow; 1 black.

Emerald Green—10 white; 1 Paris (emerald) green.

Grass Green—10 oxide of chrome; 2 tin ashes; 5 whiting; 1 crocus
martis; 1 bichromate potash.

Gray Green—5 white; 1 Verona green.

Marine Green—10 white; 1 ultramarine green.

Nile Green—50 white; 6 medium chrome green; 1 Prussian blue.

Olive Green—50 white; 2 medium chrome yellow; 3 raw umber; 1 black.

Olive Drab—50 white; 8 raw umber; 5 medium chrome green; 1 black.

Pea Green—50 white; 1 light chrome green.

Satin Green—3 white; 1 Milori green.

Sage Green—100 white; 3 medium chrome green; 1 raw umber.

Sea Green—50 white; 1 dark chrome green.

Stone Green—25 white; 2 dark chrome green; 3 raw umber.

Velvet Green—20 white; 7 medium chrome green.

Violet—3 ultramarine blue; 2 rose lake; 1 black; 2 burnt sienna.

Water Green—15 white; 10 French ocher; 1 dark chrome green.

Brown Tints

Chocolate—25 white; 3 burnt umber.

Cinnamon—10 white; 2 burnt sienna; 1 French ocher.

Cocoanut—50 white; 50 burnt umber.

Dark Drab—40 white; 1 burnt umber.

Dark Stone—20 white; 1 raw umber.

Fawn—50 white; 3 burnt umber; 2 French ocher.

Golden Brown—25 white; 4 French ocher; 1 burnt sienna.

Hazelnut Brown—20 white; 5 burnt umber; 1 medium chrome yellow.

Mulberry—10 manganese; 2 cobalt blue; 2 saltpeter.

Purple-Brown—50 white; 6 Indian red; 2 ultramarine blue; 1 black.

Red-Brown—12 hematite ore; 3 manganese; 7 litharge; 2 yellow ocher.

Seal Brown—30 white; 5 burnt umber; 1 medium chrome yellow.

Snuff Brown—25 white; 1 burnt umber; 1 Oxford ocher.

Red Tints

Cardinal Red—50 white; 50 scarlet lake.

Carnation Red—15 white; 1 scarlet lake.

Claret—21 oxide of zinc; 4 crocus martis; 4 oxide of chrome; 3 red
lead; 3 boracic acid.

Coral Pink—15 white; 2 bright vermilion; 1 deep orange chrome.

Deep Rose—10 white; 1 red lake.

Deep Purple—5 white; 1 ultramarine blue; 1 rose pink.

Deep Scarlet—15 bright vermilion; 2 red lake; 5 white.

Flesh Pink—100 white; 1 orange chrome yellow; 1 red lake.

Indian Pink—100 white; 1 light Indian red.

Lavender—50 white; 2 ultramarine blue; 1 red lake.

Light Pink—50 white; 1 bright vermillion.

Lilac—50 white; 1 rose pink.

Mauve—15 white; 2 ultramarine blue; 1 carmine lake.

Orange Pink—2 white; 1 dark orange chrome.

Purple—5 white; 2 ultramarine blue; 1 red madder lake.

Royal Pink—5 white; 1 carmine lake.

Royal Rose—20 white; 1 rose lake.

Red Brick—10 white; 3 light Venetian red; 1 yellow ocher.

Reddish Terra Cotta—2 white; 1 burnt sienna.

Salmon—50 white; 5 deep orange chrome.

Shell Pink—50 white; 2 bright vermilion; 1 orange chrome; 1 burnt
sienna.

Violet—15 white; 4 ultramarine blue; 3 rose lake; 1 black.

Gray Tints

Ash Gray—30 white; 2 ultramarine blue; 1 burnt sienna.

Cold Gray—500 white; 6 black; 1 Antwerp blue.

Dove Color—12 manganese; 5 steel filings; 3 whiting; 1 oxide of
cobalt.

Dove Gray—200 white; 5 ultramarine blue; 2 black.

French Gray—150 white; 2 black; 1 orange chrome yellow; 1 chrome red.

Lead Color—50 white; 1 black.

Lustrous Gray—10 white; 1 graphite (plumbago).

Olive Gray—200 white; 2 black; 1 medium chrome green.

Pure Gray—100 white; 1 black.

Pearl Gray—100 white; 1 ultramarine blue; 1 black.

Silver Gray—150 white; 2 black; 3 Oxford ocher.

Warm Gray—100 white; 3 black; 2 French ocher; 1 light Venetian red.

COLOR MIXTURES

COLORS AS SEEN BY INDIVIDUALS

The same color scheme does not appeal to every one. Persons of refined temperament are best pleased with soft, delicate colors and shades.

People who are less refined admire deeper tones; yet want absolute harmony, while coarse individuals are satisfied with bright gaudy colors. Color is a sensation produced on the retina of the eye, by the action of one or more of the elements of light. Exact proportion by parts are not given in the following in order to let you be the judge of the exact shade. Follow the simple rule of using a little more of the dark colors of each color combination if a deeper shade is wanted and vice versa for a lighter one.

You will note in the entire list of color mixtures different combinations to get practically the same color, scarcely no two persons view the same shade alike.

In listing different mixtures for the same color you have a better chance of using up some of the many colors that would otherwise accumulate, also giving you your choice of the color that is best adapted to your needs. More than 10,000 colors, hues and tints can be obtained from this Guide. Example or rule for obtaining special shades such as are not listed. Look through the list, carefully select the combination that comes nearest to your requirements. If the listed color is too light add more of the darker colors or if too dark add the lighter colors.

In mixing colors, always commence with the lighter and add the darker, otherwise you will mix a greater quantity than desired. In this list of color combinations the first named color always predominates; the others are named in the order of amount needed. Follow this rule unless otherwise instructed.

Color Desired Parts

Alderney Brown—Deep chrome yellow and white, darkened with black.

Amber—Equal parts burnt sienna and burnt umber; warm with orange and
tone down with black and white.

Apricot—Warm medium yellow with venetian red or vermilion and deepen
with crimson.

Ash Gray—White, tinged with black and softened with ocher.

Asiatic Bronze—Is raw umber lightened with yellow and white.

Autumn Green—Is two parts emerald green and one of yellow toned down
with a little black.

Azure Blue—Like sky blue. No definite proportion. One part cobalt,
prussian or ultra blue may be added to about forty zinc white.

Acacia—Black, indian red, and a tinge of prussian blue.

Acorn Brown—Same as chocolate, but lighten with white.

Alderney Brown—Black, orange chrome yellow, French ocher and white.

Amber Brown—Burnt sienna, orange chrome yellow, burnt umber, a touch
of black, and white.

Ashes of roses—White with tints of black and purple.

Amaranth—Tuscan red and vermilion in about equal parts, and
ultramarine blue.

Anemone—Vermilion, prussian blue, a little white and black.

Alabaster—White faintly tinged with medium chrome yellow.

Apricot—Medium chrome yellow, venetian red and carmine.

Armenian Red—Venetian red and French ocher.

Ash Gray—White, French ocher, orange chrome yellow and a touch of
venetian red.

Asiatic Bronze—Raw umber, medium chrome yellow and white.

Autumn Leaf—White, French ocher, orange chrome yellow and a touch of
venetian red.

Azure Blue—White and prussian blue.

Azure Gray—White, ultramarine blue tinted with black.

Bottle Green—Dark green and purple.

Bronze Green—Bronze blue and yellow.

Brown—Red and black.

Brown (red hue)—Red, blue and a small amount of black.

Brown (regular)—Medium yellow, red, blue, toned with black.

Buff—White, dark yellow and venetian red.

Buff—Medium yellow, white and a touch of red.

Buff—Orange and white.

Buff—Orange yellow and white. For deeper shades add brown of orange
hue.

Begonia—Black, scarlet vermilion, a touch of prussian blue.

Bismark Brown—Burnt sienna, burnt umber, orange chrome yellow and
white.

Bordeaux Blue—Black warmed with orange and toned down with prussian
blue.

Black Slate—Tone black with Prussian blue and lighten with white.

Biscuit Color—Zinc white and a little Naples yellow.

Buff—Yellow and white, tinted with red.

Black—Yellow, red and blue.

Black Slate—Black, prussian blue and white.

Bordeaux Blue—Black, orange chrome yellow, prussian blue.

Bottle Green—Prussian blue, black and chrome yellow.

Brass—White, medium chrome yellow and French ocher.

Bronze-Red—Vermilion, orange chrome yellow, and black.

Brick Color—Yellow ocher and venetian red.

Bronze Green—Deep chrome green and black. Or medium chrome green,
black and raw umber.

Bronze Yellow—Medium chrome yellow, raw umber and touch of white.

Brown—Venetian red, yellow ochre, deepen with black.

Browns—Use venetian red for base and add French ocher and black in
various proportions for different shades of brown wanted.

Brown Drab—Same as above with a little white added.

Buttercup—White and lemon chrome yellow.

Cambridge Red—Vermilion and prussian blue.

Cafe au Lait (Coffee with Milk Color)—Burnt umber, white, French ocher
and venetian red.

Carnation—English vermilion, madder lake (or carmine), and for lighter
shades add zinc white.

Cerulean Blue—Zinc white and ultramarine blue. Cobalt blue is better
but not so common.

Chamois—White, French ocher, and medium chrome yellow.

Chamoline—White raw sienna, and lemon chrome yellow.

Chartreuse—Venetian red, medium chrome yellow, French ocher and black.

Chocolate—Burnt umber and crimson vermilion (or madder lake). Or
French ocher, black, and a little venetian red.

Chocolate—Brown, red and black.

Chocolate—Raw umber, red, black.

Claybank—French ocher, orange chrome yellow and white.

Clay Drab—White, medium chrome yellow, raw and burnt sienna.

Cinnamon—White, burnt sienna, French ocher and medium chrome yellow.

Cobalt Blue—When not obtainable as a color may be mixed ultramarine
blue and zinc white.

Coral Pink—Vermilion, white and medium chrome yellow.

Colonial Yellow—White, medium chrome yellow, and a touch of orange
chrome yellow.

Chestnut—Red, black and yellow.

Chestnut—Yellow, red, toned with black.

Claret—Madder lake, ultramarine blue, English vermilion and black.

Claret—Red and prussian blue.

Claret—Red, umber, black.

Copper—Red, yellow and black.

Copper—Red, yellow, black.

Cream—White and pale yellow.

Cobalt Green—Zinc yellow and ultramarine blue.

Cobalt Green—Cadmium yellow and cobalt blue.

Claret—Red, yellow, black.

Dark Green—Blue, lemon and black.

Drab—White, medium yellow and black.

Drab—White, yellow ocher, red, black.

Drab—White, yellow, red.

Drab—White and umber.

Dark Brown—Red, black and blue.

Deep Blue—Black and blue.

Deep Lilac—Ultramarine and carmine.

Dove—White, ultramarine blue, indian red and black.

Dove—White, vermilion, blue, yellow.

Dregs of Wine—Dark tuscan red, black, a touch of zinc white.

Electric Blue—Ultramarine blue, white and raw sienna.

Ecru—White, French ocher, burnt sienna and black. Properly this color
is that of raw, unbleached flax.

Emerald—Pale chrome green, and a touch of prussian blue. Paris green
is a true emerald green.

Egyptian Green—White, raw umber, lemon chrome yellow, and prussian
blue.

Fawn—White, medium yellow, bright red, toned with black.

Fawn—White, medium chrome yellow, venetian red and burnt umber.

Flesh Color—White, medium chrome yellow, French ocher, and venetian
red.

Flesh—White, yellow ocher, vermilion.

Flesh—White, lemon yellow, tone with lake red or other bright red.

Flesh—Straw and carmine.

French Gray—White, black, a touch of ultramarine blue, and madder
lake.

French Gray—Purple, tinted with black.

French Red—Indian red, English vermilion, with a second impression of
madder lake over the other two mixed.

Fawn—White, red, yellow.

Flesh—White, lake and lemon yellow.

Gazelle—French ocher, dark tuscan red, venetian red, black, and white.

Geranium—Vermilion, indian red, and black.

Gobelin Blue—Black, white, prussian blue, and medium chrome green.

Gold—White, medium chrome yellow, French ocher, a touch of English
vermilion.

Golden Brown—French ocher, orange chrome yellow, black, and a touch of
white.

Gray Green—White, ultramarine blue, lemon chrome yellow, and black.

Grass Green—Very light chrome green. It is improved by a second
impression of emerald green.

Green Stone—White, medium chrome green, raw umber and French ocher.

Green Bronze—Chrome green, yellow and a touch of black.

Green (bright)—Lemon yellow and greenish blue.

Green (olive)—Medium yellow and purple.

Grass Green—Lemon yellow with chrome, Antwerp, milori or bronze blue.

Sea Green (neutral)—Prussian blue toned with light red.

Deep Green—Antwerp blue and emerald green.

Iris Leaf Green—Light chrome yellow and medium chrome green.

Grays—White and black in various proportions.

Gray Stone—White, black, prussian blue and venetian red.

Gray Drabs—White, black and a little burnt umber in various
proportions, according to shade wanted.

Gray (cold)—White and a little black tinted with azure blue.

Gray (sky)—White, rose madder and cobalt or ultramarine blue.

Gray (warm)—White and a little black tinted with red of yellowish hue
or orange.

Gray (neutral)—White and black. Black not to contain any blue.

Cool Gray—Antwerp blue toned with black.

Warm Gray—Burnt sienna toned with black.

Warm Gray Tints—White and black in various proportions warm with burnt
sienna.

Gray (cool)—Antwerp blue toned with black.

Gray (warm)—Burnt sienna toned with black.

French Gray—White, prussian blue, lake.

Greens—Some very good greens are made from mixtures of yellows and
Antwerp blue.

Green Tints—White, yellow and Antwerp blue.

Green (dark)—Lemon yellow, Antwerp blue, tone with black.

Gold—White, yellow and sienna.

Gold—Yellow ocher, white, tinted with red.

Green—Yellow and black.

Grass Green—Lemon yellow and bronze blue.

Hay Color—White, orange chrome yellow, light chrome green and indian
red.

Heliotrope—Zinc white, venetian red and ultra blue.

Indian Pink—White and indian red.

Indian Brown—Indian red, black and French ocher.

Iron Gray—Black, white, and a touch of orange chrome.

Indigo—Antwerp blue toned with black.

Icy Green—French ocher, black and prussian blue.

Jasper—Black, white, medium chrome yellow and indian red.

Jonquil—White, medium chrome yellow and a touch of English vermilion.

Lavender—White, black, ultramarine blue and a touch of madder lake.

Lead Color—White, black and a touch of prussian blue.

Leather—French ocher, burnt umber. For marn tones add venetian red.

Lemon—Is afforded by lemon chrome yellow.

Leaf Buds—White, orange chrome yellow and light green.

Lilac—White and dark indian red.

London Smoke—Yellow ocher, ultramarine blue, black, white.

Lavender—White and purple.

Lavender—White, red and blue.

Limestone—White, yellow ocher, tinted with black and red.

Lemon—Lemon green, toned with white.

Lemon—Lemon yellow, white and a very small quantity of chrome green.

Lemon Tints—Add white to lemon.

Magenta—Lake and purple.

Maroon—Medium yellow and red darkened with black.

Mauve—Yellow ocher, venetian red, black and white.

Mastic—White, French ocher, venetian red, a touch of black.

Maroon—Carmine (or madder lake), black, and a little orange chrome
yellow. Or tuscan red, orange chrome yellow and a touch of
black.

Manila—White, medium chrome yellow and French ocher.

Marigold—Medium chrome yellow, white and orange yellow.

Mignonette—Medium chrome green, prussian blue, medium chrome yellow
and black.

Moorish Red—Vermilion and madder lake.

Mouse Color—White, black and a touch of venetian red and burnt umber.

Moss Rose—Lemon chrome yellow, medium chrome green and white.

Mulberry—Black, vermilion and a touch of prussian blue.

Myrtle Green—Dark chrome green, ultramarine blue and white.

Nile Blue—White, prussian blue and a touch of medium chrome green.

Normandy Blue—Medium chrome green, ultramarine blue and a touch of
white.

Nut Brown—Black, venetian red, medium chrome yellow and French ocher.

Neutral Tint—White, alizarin red and indigo toned with black.

Orange (neutral)—Cadmium yellow and venetian red.

Olive—Yellow and a small amount of black.

Olive—Yellow, white, blue and black.

Olive—Gray, yellow and blue.

Orange—Red and yellow.

Old Gold—White, medium chrome yellow, French ocher and a little burnt
umber.

Olive Brown—Raw umber and lemon chrome yellow.

Olive—Lemon chrome yellow, prussian blue and black; about equal parts
of the latter. Another olive, less bright, is made with French
ocher, prussian blue and black.

Oak Color—White, French ocher and a little venetian red.

Orange—Is orange chrome yellow.

Orange Brown—Orange chrome yellow, raw sienna and a touch of burnt
umber.

Oriental Green—Raw umber and lemon chrome yellow.

Opal Gray—White, burnt sienna and ultramarine blue.

Olive Green—Medium yellow and purple.

Pearl—White, ultramarine blue and black.

Pink—White and lake.

Purple—Blue and lake.

Peach Blossoms—White, pale indian red and a touch of madder lake.

Pearl—White, black and a touch of ultramarine and carmine.

Pea Green—White and medium chrome green.

Peacock Blue—Ultramarine blue, light chrome green and zinc white.

Peach—White, vermilion.

Pink—White, vermilion and lake.

Pink—White and carmine.

Purple (pure)—Mix together red with bluish cast and blue of reddish
hue.

Purple (light)—Violet, red with a bluish cast and white.

Purple (deep)—Violet, red with a bluish cast, deepen with black.

Purple—Rose madder and ultramarine blue.

Purple—Rose madder and cobalt blue.

Purple—Lake red and ultramarine blue.

Persian Orange—Orange chrome yellow, French ocher, white.

Pink—Zinc white and either madder lake, carmine or crimson vermilion.

Pompeian Red—Vermilion, orange chrome yellow and black.

Pompeian Blue—White, ultramarine blue, vermilion and French ocher.

Plum Color—White, indian red and ultramarine blue.

Portland Stone—French ocher, raw umber and white.

Pistache (Pistachio)—Black, French ocher and medium chrome green.

Primrose—White and lemon or medium chrome yellow.

Purple-Brown—Dark indian red, ultramarine blue and a touch of black
and white.

Pea Green—White and pale green.

Quaker Green—White, French ocher, black and burnt sienna.

Russet—Orange, lake and purple.

Roan—Black, venetian red, prussian blue and white.

Robin’s Egg Blue—White, ultra blue and pale chrome green.

Russet—White, orange chrome yellow and a touch of black.

Russian Gray—White, ultra blue, light indian red and black.

Rose Tint—White and madder.

Rose—White tinted with lake red.

Rose Tint—White and madder, tinted with lake.

Royal Purple—Carmine, cobalt blue and white.

Scarlet Lake—Crimson lake and pale vermilion.

Sepia (warm)—Sepia and browns of reddish hue.

Sepia—Burnt umber and lamp black.

Sienna (burnt)—Same as raw sienna but add more yellow and red.

Sienna (raw)—Medium yellow, white and a little red.

Scarlet—Vermilion, yellow and a touch of white.

Sandstone—White, yellow ochre, black, red.

Snuff—Yellow and Vandyke brown.

Sky Blue—White and milori blue.

Shell Pink—Chrome yellow and vermilion, tinted with burnt sienna.

Straw—White and chrome yellow.

Spruce—Yellow, vermilion, green and white.

Silver Gray—Indigo and lamp black.

Slate—White, raw umber, ultra blue and black.

Sea Foam—White, green and yellow.

Shrimp Pink—White, vermilion, black and burnt sienna.

Sage Green—White, medium chrome green and black.

Salmon—White, French ocher, burnt sienna and a touch of vermilion.

Sapphire Blue—Zinc white and ultramarine blue.

Sap Green—White, medium chrome yellow and black.

Sea Green—White, prussian blue and raw sienna.

Seal Brown—Burnt umber, French ocher and a touch of white.

Scarlet—Use pale English vermilion or scarlet vermilion.

Shrimp Pink—White, venetian red, burnt sienna and a touch of
vermilion.

Sky Blue—White and prussian blue.

Sky Blue—White and ultramarine blue.

Salmon—Red, yellow and sienna.

Sienna—Medium yellow, red and white.

Slate—Ultramarine blue, black and white.

Snuff—White and umber.

Straw—White and yellow.

Slate—White, raw umber, ultramarine blue, black.

Spruce Yellow—French ocher, venetian red and white.

Snuff Color—French ocher, burnt umber and a touch of venetian red.

Straw Color—Medium chrome yellow, French ocher, a touch of venetian
red and lighten with white.

Stone Color—White, French ocher and of medium chrome yellow and burnt
umber.

Tan—White burnt sienna and a touch of black.

Tan—Yellow, burnt umber and burnt sienna.

Tally-Ho—White, French ocher, venetian red, and dark chrome green and
touch of black.

Terra Cotta—French ocher, venetian red, and white, indian red is added
for some shades. Still other shades are made with orange yellow,
venetian red and a touch of burnt umber.

Turkey Red—Vermilion and black.

Turquoise—White, cobalt blue and green lake.

Turquoise Blue—Zinc white, cobalt blue and light chrome green.

Umber—White, yellow, red and black.

Velvet Green—Burnt sienna, green lake and white.

Vermilion—An orange red, to lighten add yellow, to deepen add burnt
sienna.

Vienna Brown—Burnt umber, venetian red, French ocher, and a touch of
white.

Violet—White, light indian red and a touch of dark indian red.

Violet—White, blue and red.

Violet—Crimson lake and Antwerp blue.

Violet—Red, blue, white.

Violet—Lake and ultramarine blue.

Violet Tint—Lake, ultramarine blue, white in various proportions.

Violet—Crimson lake and Antwerp blue in various proportions.

Willow Green—White, medium chrome yellow and a little raw umber and
black.

Wine Color—English vermilion (or scarlet vermilion), madder lake (or
carmine), ultramarine blue and black. Or tuscan red and a little
black.

Water Green—White, raw sienna, dark chrome green.

Yellow Bronze—Lemon or medium chrome yellow, French ocher and a touch
of burnt umber.

Yellow Drabs—Same as the preceding, in various proportions.

COLOR MIXTURES BY PARTS

In this list where green is mentioned, “Universal” regular green is referred to. The yellow to be used can be chrome yellow for a darker shade, or lemon yellow for a lighter shade, although lemon yellow is to be preferred.

GREENS BY TWO-COLOR MIXTURE

Color Desired Parts
Bronze green 2 bronze blue, 3 yellow.
Bright green 1 deep blue, 5 yellow.
Brilliant green 1 green, 4 yellow.
Blue green 2 blue, 4 green.
Dark green 2 blue, 1 yellow.
Dark green medium 1 blue, 1 yellow.
Emerald green 1 green, 3 white.
Green-black, dark 1 blue green, 3 black.
Green-black, light 5 blue green, 1 black.
Green tint 2 bright green, 30 white.
Grass green 1 bronze green, 1 bright green.
Japanese green 20 emerald green, 1 black.
Light green 1 green, 1 yellow.
Olive green 1 blue, 4 orange.
Olive green, light 4 yellow, 1 black.
Olive green, dark 4 yellow, 2 black.
Orange-green 1 deep blue, 60 yellow.
Sea green 1 blue, 3 green.
Sage green 4 green-black, 6 white.
Universal green 1 blue, 4 yellow.
Yellow-green 1 deep blue, 100 yellow.

GOOD GREENS

Some very fine greens can be made with lemon yellow and Antwerp blue in various proportions. Can be toned or deepened with black.

BROWNS BY TWO-COLOR MIXTURE

With the browns, lemon yellow is best. The red can be a color like brilliant scarlet, flag-red or scarlet lake.

Color Desired Parts
Brown-tint 1 red-brown, 40 white.
Brown-black 1 red, 1 black.
Bronze-brown 2 bronze-red, 1 bronze blue.
Chocolate brown 12 red, 2 deep blue.
Copper-brown 15 vermillion, 1 black.
Green-brown 2 red, 4 green.
Maroon-brown 15 red, 2 black.
Photo-brown 1 vermillion, 1 black.
Purple-brown 6 red, 1 deep blue.
Red-brown 12 red, 1 black.
Sepia-brown 20 orange, 1 black.
Snuff brown 8 vermillion, 1 deep blue.
Tan-brown 2 yellow, 1 purple.
Yellow-brown 4 yellow, 3 red-brown.
Yellow-brown tint 1 yellow-brown, 30 white.

GRAYS BY TWO-COLOR MIXTURE

Color Desired Parts

Blue-gray 2 regular gray, 1 blue.
Dark gray 12 white, 2 black.
Drab-gray 15 regular gray, 1 orange.
Green-gray 6 regular gray, 1 green.
Lead-gray 15 regular gray, 1 deep blue.
Light gray 20 white, 1 black.
Purple-gray 8 regular gray, 1 purple.
Pink gray 12 light gray, 1 red.
Regular gray 12 white, 1 black.
Red-gray, light 6 regular gray, 1 red.
Red-gray, dark 15 regular gray, 2 red.
Warm gray 10 regular gray, 1 vermillion.
Yellow-gray 8 regular gray, 1 yellow.

PURPLE BY TWO MIXTURES

Color Desired Parts

Bright violet 1 purple, 1 blue.
Light purple 1 purple, 1 white.
Regular purple 10 rose lake, 1 blue.
Scarlet purple 15 rose lake, 1 blue.
Typewriter purple 1 purple, 4 white.
Violet 4 rose lake, 1 ultramarine

MISCELLANEOUS

All colors in the left-hand column of the following are the base upon which to work. By adding white to them you form the colors given in middle column, but when black is substituted for white you obtain the colors given in the right-hand column. Example: Add white to “any lake red” for pink; add black to “any lake red” for maroon.

Base Result of Adding White Result of Adding Black

Any lake red Pink Maroon
Vermilion Yellowish Pink Russet
Scarlet Salmon Buff Brown
Orange red Yel. sal. buff Yellow-brown
Orange Salmon Terra Cotta
Yellow-orange Amber Yel. terra cotta
Orange yellow Cream Old Gold
Yellow Lemon or Sulphur Citrine
Yellow-green Straw Olive
Emerald green Pea green Sage
Bluish green Sea green Myrtle
Turquoise Pale turquoise Dull Indigo
Ultramarine Azure Blue Slate

MISCELLANEOUS

Color Desired Parts

Azure Blue 1 ultramarine, 40 white.

Antwerp Blue 4 emerald green, 8 ultramarine, 1 white.

Autumn Leaf 20 straw, 2 orange, 1 Venetian red.

Autumn Gray 20 emerald green, 10 yellow, 1 black.

Apple Green 4 orange, 9 chrome green, 1 white.

Ash Gray 2 burnt sienna, 3 ultramarine blue, 70 white.

Amber 4 burnt sienna, 4 burnt umber, 2 orange, tinged
with black and white.

Apricot 30 chrome yellow, 2 vermilion, 1 crimson.

Alabastar 1 chrome yellow, 4 white.

Amaranth 4 Tuscan red, 4 vermillion, 1 ultramarine.

Anemone 6 English vermilion, 6 deep bronze blue, 2
black, 1 white.

Amaranth 3 English vermilion, 1 deep bronze blue.

Armenian Red 2 venetian red, 1 ocher.

Ash Gray 60 zinc white, 3 ultra blue, 2 burnt sienna.

Antique Bronze 3 black, 1 orange.

Apple Green 30 white, 1 chrome green.

Blue Grass 1 Prussian blue, 3 emerald green, 7 white.

Bordeaux Blue 3 orange, 1 black, 6 Prussian blue.

Begonia 5 English vermilion, 4 black, 4 Prussian blue.

Biscuit color 20 white, 1 Naples yellow.

Bismark Brown 20 burnt sienna, 20 umber, 2 orange, 1 white.

Blood Red English vermilion, tinged with blue and yellow.

Blue Green 3 chrome green, 1 prussian blue.

Blue Grass 1 prussian blue, 3 emerald green.

Bluish Gray 6 regular gray, 1 dark blue.

Purple-Brown 6 deep red, 1 purple.

Brown-Black 2 bluish red, 5 black.

Photo-Brown 4 bluish red, 1 brown-black.

Maroon-Brown 8 bluish red, 1 blue.

Bay 3 venetian red, 3 black, 1 orange.

Chocolate Brown 12 deep red, 2 deep blue tinted with black.

Milk Chocolate 12 deep red, 2 deep blue, 1 white tinted with
black.

Chestnut Brown 3 Venetian red, 3 black, toned down with
orange.

Maroon, deep 5 black, 3 red, 1 Prussian blue.

Cologne 2 parts of yellow chromate of lead, 1 of
sulphate of lead, and 7 of Sulphate of lime
or gypsum.

Citron 2 yellow, 1 red, 1 blue.

Crimson Red 30 bright red, 1 blue.

Campanula 3 blue, 1 red.

Citron 2 yellow, 1 red, 1 blue.

Garnet 3 red, 1 blue.

Greenish Gray 8 regular gray, 1 medium green.

Green Tint 1 light green, 15 white.

Nasturtium 3 red, 1 chrome yellow.

Olive 2 blue, 1 red, 1 yellow.

Purple tint 1 purple, 50 white.

Russet 2 red, 1 blue, 1 yellow.

Sulphur 30 yellow, 1 blue.

Sea Green 1 medium green, 3 white.

Saffron 3 chrome yellow, 1 red.

Sky Blue 99 white, 1 prussian blue.

Sky Blue 99 white, 1 ultramarine blue.

Turquoise 3 blue green, 1 white.

Violet-blue 10 violet, 1 blue.

Violet tint 1 violet, 30 white.

HINTS FOR PAINTERS AND DECORATORS

A house painted white not only looks cool, but is cool, as white reflects the sun’s rays. The effect at night is reversed.

The amount of trimming color necessary is usually about one-fifth of that required for the entire surface.

Do not paint damp or unseasoned, sappy or pitchy wood.

Do not paint or paper walls having a northern exposure with cold color such as blue, gray or white. Use warm tones like rose, tan, etc. And in like manner better results are obtained by using the cold shades or colors in rooms with a southern exposure.

COVERING CAPACITY OF VARNISH

One gallon of varnish will cover approximately 300 square feet, two coats when properly flowed on.

Varnish is transparent and therefore cannot hide any defects in a surface. If the surface is badly marred, use graining materials. Or cover up the old surface with a suitable paint or enamel.

NEW WOOD.—Before varnishing new open grained wood such as oak, ash and mahogany, it is necessary to fill the pores with a good filler. Some prefer it in paste form. This is not absolutely necessary for close-grained woods such as maple, pine and birch.

Paint for general purpose is composed of lead, zinc, linseed oil and turpentine dryer, which are the best known ingredients, excepting such colors that cannot be made from lead and zinc.

Lead, when used alone does not make as serviceable a paint as lead and zinc ground together in pure linseed oil and colors. Zinc is recognized as an indispensable ingredient in paint. Lead, while quite necessary, is likely to change when used alone, by that is meant, it discolors easily, and when exposed to the air chalks off and leaves the wood exposed.

Zinc, which is a more durable metal, retains its whiteness also gives to colors and permits incorporating the largest possible quantity of linseed oil, thus giving life and durability to the paint. A mixture of both lead and zinc, is, therefore, necessary to obtain best results to resist light, heat and cold.

NEW WORK

To secure best results, new work should have three coats, that is two besides the priming coat.

Do not prime or apply paint to a new building until plastering is thoroughly dried out.

ADULTERATING COLORS

Do not imagine that the durability of paint is increased by the use of whiting, clay, silica and other cheap materials. They only make bulk and trouble.

AGGREGATED FORM OF CHECKING

Avoid “alligatoring,” which is a form of checking and frequently caused by applying finished coats over priming or second coats before drying.

SEEDY, SPECKY, SANDY VARNISH