YELLOWS.
A great variety of yellows may be obtained by using the different shades
of yellow chrome, etc., on the market, adding a little red occasionally.
It may be taken as a general rule that blacks should not be added to
yellow unless a greenish tint is desired. If a yellow is too bright it
may be lowered by adding a small quantity of blue and red. Instructions
for obtaining the various grades of yellow are given explicitly below.
ALABASTER.--This is yellowish white in colour. Mix four parts of white
with one of middle chrome yellow.
AMBER.--An imitation of amber can be produced by mixing equal portions
of burnt sienna, burnt umber, blue black and orange chrome yellow, and
adding a quantity of white lead until the desired tint is obtained.
ANTIQUE BRONZE.--Add ivory black to orange chrome yellow in the
proportion of about five parts of black and one part of orange.
ASIATIC BRONZE.--One part medium chrome yellow, two parts raw umber, and
lighten with white lead.
BRASS YELLOW.--This may be obtained by mixing forty parts of white lead,
twelve parts of light chrome yellow, one part raw umber, and one part
burnt umber. Or a mixture of French ochre and medium chrome yellow,
added to a little umber, with a touch of blue, may be used to tint white
as a base.
BRONZE.--Take fourteen parts of black and add one part of yellow and two
of green.
BRONZE YELLOW.--Mix together five parts of medium chrome yellow, three
parts of white lead, and one part of raw umber. A mixture preferred by
some painters is obtained from chrome yellow, French ochre and a little
burnt umber.
BUFF.--Two parts of white lead and one part of yellow ochre produces a
good buff, or white lead may be tinted with French ochre alone. Other
shades are obtained with mixtures of two parts of black, four of white,
one of red, and one and one-eighth of yellow.
BUTTERCUP.--White lead tinted with lemon chrome gives a nice buttercup
yellow.
CADMIUM ORANGE.--This is an artist’s colour of considerable value, but
is, generally speaking, too expensive for house painters. It should not
be mixed with chrome yellow or emerald green. It is made in three
shades: pale, medium and deep, and it cannot be successfully imitated.
CANARY.--This is practically another name for straw tint, and it may be
mixed in the same way. The proportions for an ordinary shade of canary
are three parts of lemon chrome yellow to one part of white lead, but
less yellow is often preferred. Another shade is obtained by mixing two
parts of white, six of yellow and two of green. Some manufacturers make
an extra light chrome yellow which they call by this name.
CHAMOIS.--A dull yellow made by mixing four parts of white, five of
yellow ochre and one of green.
CHAMOLINE.--Mix together five parts of white lead, three parts of raw
sienna and one part of lemon yellow.
CITRINE.--Although this is a tertiary colour, and theoretically can be
made from green and orange, opinions as to the exact shade somewhat
differs. It may be made by mixing four parts of medium chrome yellow and
one part of raw umber; or five parts of lemon chrome yellow and two
parts of raw umber.
CITRON.--To produce this colour use Venetian red as a base and add one
part of Prussian blue, two of chrome yellow and two of white.
COLONIAL YELLOW.--Medium chrome yellow mixed with white lead and a
little dark orange chrome yellow gives this tint.
CREAM.--A good shade is obtained by mixing eight parts of white lead,
two parts of French yellow ochre and a touch of Venetian red. French
ochre and lead alone are often employed. There are many other methods of
obtaining this tint. _Note._--Light buff, medium buff, and dark buff may
all be obtained in the same way by adding more or less of the French
ochre or white.
DAFFODIL.--Lemon chrome mixed with a little Venetian red will give this
colour.
DEEP CREAM.--This colour is made by tinting white lead with yellow ochre
and a little Venetian red. (See Cream.)
ECRU.--Tint white lead with French ochre and medium chrome yellow. A
tint which is sometimes called stone colour is produced in the same way.
Another shade of ecru may be obtained by mixing three parts of black,
eight parts of white, three of medium chrome yellow, and one of
Brunswick green.
GAMBOGE.--This is an artist’s colour. It is a gum resin, is somewhat
fugitive, and is useless for the purpose of the house painter.
GOLD.--To obtain the colour known as “gold” white lead may be tinted
with five parts of golden or yellow ochre, and one part of vermilion, or
a mixture of light chrome yellow, French ochre and vermilion may be used
instead to tint the white lead. The quantity of yellow used should be
considerably more than the ochre.
HAY COLOUR.--French ochre, medium chrome yellow, and lamp black used as
tinting colour for white lead will give a hay colour, or raw Italian
sienna and lamp black may be employed if desired.
IVORY.--The addition of a very little medium chrome yellow to white lead
produces this tint, or a very little golden ochre may be used.
JONQUIL YELLOW.--Tint white lead with medium chrome yellow to which has
been added a very little vermilion red. One of the favourite methods is
to employ sixteen parts white lead, one part of indigo and two parts of
light red, adding as much chrome yellow as may be desired. Another way
of making jonquil yellow is by simply mixing with a little green about
forty times the quantity of yellow.
LEGHORN.--This is a pale yellow shade, which is obtained by mixing white
and medium chrome yellow in about equal proportions.
LEMON.--For this colour lemon chrome yellow is used alone, but the tint
may be made by using white lead for a base and adding medium chrome
yellow until the desired tint is obtained. The tint that is usually
preferred is obtained by mixing five parts of chrome to two parts of
white lead, and adding a little green. However, lemon chrome yellow
purchased ready made is the best.
LIGHT BUFF.--A little yellow ochre added to white lead gives a good buff
colour, the tint varying with the quantity of ochre.
LIGHT DECK.--This colour may be produced by mixing medium and lemon
chrome yellow with white.
LIGHT STONE.--Tint white lead with French ochre and lamp black.
LEMON YELLOW.--This is also called lemon chrome, and is the palest shade
of lemon chrome yellow. It is very useful for preparing the lighter
shades of yellow, and may be imitated by adding cadmium yellow to zinc
white.
MAIZE.--Mix yellow and white in the proportion of about three parts of
the former to one of the latter to get this light yellow shade.
MANDER’S YELLOW.--This is intended to be used as a substitute for old
Oxford ochre, but is claimed to be superior. It is based on ochre and is
of great strength and body.
MANILLA.--This colour is sometimes called “deep deck.” It is made by
tinting white lead with French ochre and chrome yellow. Or a mixture of
white with four times the quantity of yellow will produce a shade of
manila.
MARIGOLD.--This is obtained by mixing a very little bright yellow with
orange chrome.
MELON.--Mix equal quantities of black and white; add twice the bulk of
orange chrome and a quantity of medium chrome equal to the mixture of
black and white.
MUSHROOM.--A dull yellow shade, which may be obtained by adding one part
of orange and two of yellow to ten parts of black.
MIDDLE STONE.--Mix as described under “Stone,” but use more umber and
ochre.
NAPLES YELLOW.--This yellow is not now much used, chrome yellow having
to a large extent taken its place. It may be imitated by tinting zinc
white with cadmium yellow and a very little yellow ochre.
NAPLES YELLOW.--This is obtained by mixing orange with twice as much
yellow and three times as much white. It is also the name given to an
artist’s colour.
OCHRE YELLOW.--Mix orange and yellow in about equal proportions with a
rather larger quantity of black.
OLD GOLD.--Use middle chrome with a little vermilion and burnt sienna,
and add a very little cobalt. A cheaper colour may be made by mixing
ochre and burnt sienna. One part of green and three of bright yellow
mixed with a little white will give an old gold shade. Or it may be
obtained in the same way as GOLD, which see, but a little burnt umber
may be added. Some painters prefer to tint white lead with a mixture of
chrome, raw sienna and vermilion.
OLIVE YELLOW.--This colour is sometimes called olive brown. It is made
by mixing three parts of burnt umber with one part of lemon chrome
yellow, a larger quantity of yellow being added if a lighter shade is
required. Another method is to mix ten parts of black, one of orange,
twelve of yellow, and five of green.
ORANGE.--Mix white, yellow and orange in the following proportions: one
part each of yellow and white and eighteen parts of orange. Or another
shade is got with seventeen parts of orange, six of yellow and two of
white. Orange chrome yellow can be easily purchased, however, and gives
this colour without any admixture being necessary.
PERSIAN ORANGE.--Mix fourteen parts of orange chrome, five parts of
yellow ochre and one of white.
POMPEIAN YELLOW.--Tint white with Italian ochre and add a very little
ultramarine and vermilion.
PORTLAND STONE.--Mix equal parts of yellow ochre and raw umber and
lighten up with white until the desired tint is obtained.
PRIMROSE YELLOW.--Lemon chrome used by itself answers admirably.
PRIMROSE.--Ten parts of white, three parts of green and four parts of
yellow will give this light greenish yellow. Another shade is got by
mixing one part of orange, two parts of green and five parts of yellow.
SPRUCE YELLOW.--Add a little Venetian red to a mixture of French ochre
and white lead.
STONE.--This colour, so much used in London, is usually made by mixing
together five parts of white lead, two parts of French yellow ochre and
one part of burnt umber. By adding a little raw umber, the tint may be
varied as desired. This colour is suitable for outside work. Another
method for obtaining the shade is to tint white with medium chrome
yellow and burnt umber.
STRAW COLOUR.--Lemon chrome mixed with raw umber.
STRAW.--White lead tinted with a little chrome yellow produces an
excellent straw tint, but some prefer to add a little French ochre. Or
medium chrome yellow may be used as a base, and a mixture added of
white, French ochre and Venetian red.
YELLOW LAKE.--This is a somewhat fugitive colour which has but little
body, but is useful for glazing. To imitate it use equal parts of burnt
umber and white lead and tint with chrome yellow and lake. Or, mix umber
and white in equal proportions and add Naples yellow and scarlet lake.
To obtain this colour in its full richness it is quite necessary to
glaze either admixture with yellow lake.
YELLOW OCHRE.--The ochres are natural mineral pigments, which are among
the cheapest and most useful at the command of house painters. They can
be used in any vehicle and are quite permanent, while they do not affect
any other colour with which they may be used. Oxford ochre is generally
accepted to be the brightest of the series, while it is distinguished
also for the depth of its covering power.
ZINC YELLOW.--This is a chromate of zinc which is quite fast in light,
and possesses the advantage of permanence even in the presence of impure
sulphuretted hydrogen, etc. It may be mixed with other colours without
adversely affecting them.
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