GREENS.
There is, of course, an immense range of greens, and the list below
includes only those which are more or less frequently called for. To
obtain a green, one can mix with yellow either blue or black. This forms
a very good example of the difference which is obtained by mixing rays
of light and pigments. The painter who wishes to make a systematic study
of the subject of colour mixing is advised to experiment. He may first
mix, say, medium chrome yellow with Prussian blue, then with cobalt and
then with ultramarine or indigo, noting carefully the difference in the
hue obtained. It is well to keep the quantity of chrome about the same
in each case, so that the difference obtained by the use of the
respective blues may be the better appreciated. He should then change
his yellow, mixing the same proportions as nearly as possible with lemon
chrome and then with deep chrome, again noticing the difference in the
colours obtained. Having done this he can go back to middle chrome and
mix black with it in varying proportions. In this way he will obtain a
good deal of practical knowledge in a short time concerning the
different shades of green obtainable from these simple mixtures, and he
will at the same time not forget the relative costs of the different
materials, so that he may learn to obtain desirable mixtures of colour
from the least expensive of the pigments. Sometimes a green is obtained
simply by lightening up, with white, a stock commercial green, for
example, pea green may easily be obtained by lightening pale Brunswick
green. In some cases greens are produced by an admixture of two or more
colours, such, for instance, as Willow Green, which is made from ochre
and indigo, and Olive Green from ochre and French ultramarine. Others
have the addition of white, such as Grass Green, which is white ochre
and cobalt, and Spring Green, which is white, middle chrome and black.
Having performed the foregoing experiments, the reader should next take
up the study of lights and shades. In other words, he should add to the
various mixtures obtained in the manner described, different quantities
of first white and then black, and notice the effect obtained.
Some colours are very much stronger for tinting purposes than others.
For example, a Prussian blue will go a long way and a very little is
sufficient to colour a considerable quantity of white lead. In the
plates we show pure Turkey umber, French ochre, raw Italian sienna,
orange chrome yellow, Prussian blue, medium chrome yellow, etc. Each of
these is also shown when mixed with twenty-five parts of zinc and one
hundred parts of zinc respectively. The object of using the zinc instead
of white lead is to obtain a purer tint, the white being much whiter
than white lead. A careful examination of this tint will give some
useful information concerning the tinting strength of different colours.
Observe, for example, Prussian blue, which is quite a decided blue even
when only one part in one hundred of the colour is used. The next thing
to be done is to add a little black to these colours and to note the
result. We must urge the reader not to use black in reducing his colours
as a rule. If it is desired to reduce or lower a yellow in tone use blue
and red, if a blue is too vivid add a little red and yellow, and if a
red is too bright add a little blue and yellow--in other words, taking
the three primaries, add to any one a very little of the other two.
ALOES.--A pale sage green shade. To obtain it mix six parts of black,
three of white, one of chrome yellow, and three of Brunswick green.
APPLE GREEN.--The simplest way to obtain this is to mix medium chrome
green with about thirty times the quantity of white lead, but other
greens may be employed with the addition of a little Prussian blue when
necessary. Or a little orange chrome yellow may be added to the medium
chrome green and white lead. A very good shade can be produced by mixing
one part of white with four of yellow and nine of green.
AUTUMN GREEN.--Mix one part of chrome yellow with seven of black and two
of emerald green.
BLUE GREEN.--Equal proportions of deep chrome green and cobalt, or three
parts of chrome green and one of Prussian blue, added to white lead in
the proportion of about four times the quantity of lead to the mixture
of green and blue, will give a tint which is sometimes called “blue
green.”
BOTTLE GREEN.--Mix together five parts of medium chrome green and one
part of blue black. A similar colour may be obtained by adding Prussian
blue to blue black and lemon chrome. Another shade is made by using four
parts of black and one of green.
BRONZE GREEN.--The usual method is to mix black with chrome yellow
(deep), but indigo may be used instead if desired. A much brighter
colour is obtained from a mixture of medium chrome yellow, Prussian blue
and burnt sienna. Or the following recipe may be used: Medium chrome
green, five parts; blue black, one part; burnt umber, one part. A light
bronze colour may be obtained by adding more green or by using light
instead of medium green. Other shades of bronze green may be got by
adding a little lamp black to dark chrome green, or by taking medium
chrome green and adding lamp black and a little raw umber.
BRUNSWICK GREEN.--This colour is sold in three shades. It may be
imitated by a mixture of Prussian blue and chrome yellow, but chrome
green, toned down with black, is sometimes used.
CHARTREUSE.--This is a light yellowish green colour. Mix four of chrome
yellow and five of chrome green, lightening up with white.
CHROME GREEN.--This colour is bought ready made. To produce it by
admixture, add Prussian blue to lemon chrome yellow in the proportion of
about one part of blue to eight parts of yellow.
EAU DE NIL.--Tint white lead with medium chrome yellow, emerald green
and a touch of Prussian blue.
EGYPTIAN GREEN.--Add two parts of raw umber and one part of lemon chrome
yellow to white lead. Give the green tone to it by means of a little
Prussian blue.
ELEPHANT GREEN.--A dark green, obtained by adding a little emerald green
to black.
EMERALD GREEN.--This beautiful, bright green cannot be successfully
imitated. It must not be mixed with ultramarine. The pigment is a great
favourite with some painters, while others never use it. In America,
the pigment is known as “Paris green,” but it is not there used to any
extent by painters, although it is used as an insecticide. In the
absence of the real thing, a more or less presentable imitation may be
obtained by mixing eight parts of white lead and one part of medium
chrome green, or a light shade of chrome green may be used without lead.
FOLIAGE GREEN.--One part of blue black may be mixed with four parts of
lemon chrome. Use medium chrome yellow if a darker shade is required.
FRENCH GREEN.--This is a bright yellowish green, which may be obtained
by adding to emerald or deep chrome green about one-tenth part chrome
yellow. Yellow ochre is sometimes used instead.
GAGE GREEN.--This is a variety of sage green. It may be made in the same
way as pea green, and when that is reached a little black should be
added to bring it to the required sage colour.
GENUINE GREEN.--This is usually to be had ready mixed, but it varies
considerably in name as well as in the exact tint. It comes very near to
what some manufacturers call deep royal green, while it is not far
removed from an olive.
GRASS GREEN.--The colour sold as “extra light chrome green” makes a
splendid grass green without any addition, but if it is not available
lighten up medium or dark chrome green with chrome yellow.
GREEN SLATE.--Tint white lead with a bright green toned down with ochre
and lamp black.
GREEN STONE.--Twelve parts white lead tinted with one part medium chrome
green and one part of raw umber give this tint, or the tinting colours
may be French ochre and emerald green with a little lamp black.
GREY GREEN.--Use ultramarine blue, lemon chrome yellow, blue black and
white lead.
INVISIBLE GREEN.--A dark green made by mixing nine parts of black and
one of bright green.
IVY GREEN.--This is produced by a mixture of French ochre, lamp black
and Prussian blue.
LEAF BUD.--This colour is suitable for inside work. It is made by mixing
orange chrome yellow, light chrome green and white lead in equal
proportions.
LIGHT GREEN.--Equal quantities of white and blue and rather more than
twice the amount of green give a very good shade.
LIME GREEN.--This is bought ready for use, and is only suitable for
distemper, etc. It cannot be used with oil.
MANSE GREEN.--This is produced from a mixture of a bright green, medium
chrome yellow and French ochre.
MARINE GREEN.--Mix one part of middle chrome green with four of black.
MEDIUM.--A green of this name may be purchased ready made. It is very
similar to middle Brunswick green.
MIGNONETTE.--This is a dark green shade, obtained by mixing one part of
chrome yellow and one of Prussian blue with three parts of chrome green
and fifteen parts of black.
MOSCOVITE.--This is a dark sage-yellow greenish shade. It may be
obtained by mixing six parts of Prussian blue, thirteen of chrome green,
three of orange chrome, eight of white, and twenty of black.
MOSS GREEN.--Tint white lead with French ochre, a bright green and a
little lamp black.
MOSS ROSE.--This pale greenish shade is obtained by mixing chrome or
Brunswick green, bright yellow and white in the proportions of one part
green, four of yellow and three of white.
MOUNTAIN GREEN.--Add to medium chrome yellow sufficient cobalt to
produce the desired hue, adding a little white if necessary.
MYRTLE.--Three parts of dark chrome green, one part of ultramarine blue,
and a little white lead will give an excellent myrtle colour.
NIGHT GREEN.--Seven parts of chrome green and three parts of yellow
ochre will give this shade.
NILE GREEN.--Five parts of white, nine of emerald green and six of
Prussian blue will give this shade.
OLIVE.--Mix together ten parts of lemon chrome yellow, one part of
ultramarine blue and one part of light Indian red. Another method is to
use eight parts of lemon chrome yellow, one part of blue black and one
part of Prussian blue. Or the following proportions give very good
shades: three parts black, four parts white, four parts red, two parts
yellow, and eleven parts green; or, fifteen parts of white, twenty of
red, twelve of yellow, and fifty-three of green. Some painters add equal
portions of Prussian blue and lamp black to lemon chrome yellow for a
base, or the base may be ochre instead of chrome, and a little of the
yellow be added.
[Illustration] [Illustration]
BUFF SEERED GREEN
[Illustration] [Illustration]
DOE COLOUR MOSS GREEN
[Illustration] [Illustration]
SANDSTONE LIGHT CHOCOLATE
[Illustration] [Illustration]
LIGHT DRAB VENETIAN GREEN
[Illustration] [Illustration]
STONE GREY SAGE
[Illustration] [Illustration]
STEEL GREY BRONZE BROWN
[Illustration] [Illustration]
SLATE TEA GREEN
[Illustration] [Illustration]
PEA GREEN BRONZE GREEN
ORIENTAL GREEN.--Is made by mixing equal proportions of raw umber and
lemon chrome yellow.
PALE ROYAL GREEN.--This colour is bought ready made.
PEACOCK GREEN.--A mixture of seven parts of white, fifty parts of
emerald green and forty-three of Prussian blue will give this shade. A
little yellow is sometimes added.
PEA GREEN.--Forty-eight parts of white lead and one part of chrome green
will give this colour, or emerald green may be used if desired. Some
makers mix medium chrome green and white lead in the proportion of five
parts of the latter to one part of the former to obtain a pea green, but
the proportions may be varied considerably according to the exact shade
required.
PERSIAN GREEN.--This is only another name for emerald green, the vivid
and somewhat staring hue being sometimes employed in Oriental decoration
and being then termed “Persian Green.”
PISTACHE.--This is a yellowish green shade. It may be got by mixing
seven parts of black, one of yellow ochre and one and half of chrome
green. Or chrome yellow may, if desired, be substituted for the ochre.
PRUSSIAN GREEN.--To produce this mix five parts black, three parts
chrome yellow and twelve parts emerald or medium chrome green.
QUAKER GREEN.--Mix equal proportions of Venetian red and medium chrome
yellow and add blue black. Add to this mixture a quantity of chrome
green equal in bulk to the three. This will give an excellent quaker
green.
REED GREEN.--Mix white, chrome yellow and chrome green in about equal
quantities to produce this shade. The name, however, has no special
significance, and an admixture of almost any yellow and green, lightened
up with white, might be used instead.
SAGE GREEN.--This may be produced by tinting white lead with four parts
of light chrome green and one part of ivory black, or the white lead may
be tinted with a mixture of French ochre, lamp black, and Prussian blue.
Another recipe is as follows: Add raw umber and chrome green in the
proportion of about one part of the former to two parts of the latter
added to white lead until the desired shade is obtained.
SAP GREEN.--Mix with white lead medium chrome yellow and a very little
lamp black.
SEA FOAM.--Tint white lead with medium chrome yellow and emerald green,
or if too bright use medium chrome green instead of the emerald.
SEA GREEN.--This colour is obtained by adding deep chrome to white lead.
Another sea green, and a very good one, is obtained by mixing light
Brunswick green, raw sienna or ochre and white.
SEERED GREEN.--Tint white lead with French ochre, medium chrome yellow
and a little bright green.
STARLING’S EGG GREEN.--A mixture of light chrome and Prussian blue,
lightened up with white, will produce this colour.
TEA GREEN.--Medium royal green, chrome yellow, and lamp black, added to
white lead, will give this colour.
VELVET GREEN.--Mix three parts of burnt sienna, five parts of light
chrome green and eight parts white lead.
VENETIAN GREEN.--Lighten up dark chrome green with white lead.
WATER GREEN.--Raw sienna mixed with a little deep chrome green and added
to white lead gives a water green tint.
WILLOW GREEN.--Tint white lead with medium chrome green and add a little
burnt umber or ivory black.
[Illustration]