Paint & Colour Mixing: A practical handbook for painters, decorators and all who have to mix colours, containing 72 samples of paint of various colours, including the principal graining grounds

By Arthur Seymour Jennings

"Paint & Colour Mixing" by Arthur Seymour Jennings. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.

• Language: English
• Publisher: Good Press
• Release date: Nov 29, 2019
• ISBN: 4057664589705

Book preview

Arthur Seymour Jennings

Paint & Colour Mixing

A practical handbook for painters, decorators and all who have to mix colours, containing 72 samples of paint of various colours, including the principal graining grounds

Published by Good Press, 2022

[e-mail]

EAN 4057664589705

Table of Contents

PREFACE.

CHAPTER I.

The Composition of a Paint.

Paint Mixing.

The Proportions of Materials.

Priming for Iron.

Painting on Stucco.

Priming for Deal or Pine (inside) .

Second Coat (inside) .

Second Coat (outside) .

Egg Shell Gloss.

CHAPTER II.

Colours or Stainers.

The Nomenclature of Colours.

The Economy of Using Good Colours.

Hue, Tint and Shade.

CHAPTER III. Whites.

Commercial White.

Permanent White.

Various Whites Compared.

CHAPTER IV. Grays and Greys.

Argent.

Ash Gray.

Black Slate.

Dark Gray.

Dark Lead.

Dark Slate.

Deep Lead.

French Gray.

Granite.

Graystone.

Gray Drab.

Green Slate.

Iron Gray.

Jasper.

Lead.

Light Grey.

Mastic.

Moss Gray.

Mouse Colour.

Neutral Tint.

Olive Gray.

Opal Gray.

Payne’s Gray.

Pearl.

Pearl Gray.

Quaker Drab.

Rustic Drab.

Silver Gray.

Slate.

Smoke Gray.

Steel Gray.

Stone Gray.

Verdant Grey.

Warm Gray.

CHAPTER V. Reds.

Acacia.

Amaranthine.

Anemone.

Apricot.

Armenian Red.

Aurore.

Bay.

Begonia.

Black Maroon.

Blood Red.

Bordeaux Red.

Brick.

Bright Scarlet.

Bronze Red.

Cambridge Red.

Carmine.

Carmoisin.

Carminette.

Carnation Red.

Cherry Red.

Claret.

Coral Pink.

Dregs of Wine.

Egyptian.

Firefly.

Flesh Colour.

French Red.

Gazelle.

Geranium.

Indian Pink.

Indian Red.

Light Pink.

Light Salmon.

Lilac.

Madder Lake.

Magenta.

Maroon.

Mexican Red.

Mikado.

Moorish Red.

Mulberry.

Old Rose.

Opaque Pink.

Opera Pink.

Oriental Red.

Orange Scarlet.

Orange Vermilion.

Peach Bloom.

Pink.

Plum.

Pompeian Red.

Poppy.

Purple.

Red Ochre.

Red Terra-Cotta.

Regal Purple.

Roan.

Rose.

Rose Carnation.

Rose Wood.

Royal Pink.

Royal Purple.

Salmon.

Scarlet Lake.

Scarlet Red.

Shell Pink.

Shrimp Pink.

Scarlet Madder Lake.

Signal Red.

Terra-Cotta.

Turkish Crescent Red.

Tuscan Red.

Venetian Pink.

Venetian Red.

Vermilion.

Wine Colour.

CHAPTER VI. Blues.

Antwerp Blue.

Azure Blue.

Berlin Blue.

Blue Grass Tint.

Bremen Blue.

Bronze Blue.

Brunswick Blue.

Coeruleum.

Celestial Blue.

Chinese Blue.

Cobalt.

Dark Blue.

Fog Blue.

French Blue.

Gobelin Blue.

Granite (Blue.)

Heliotrope.

Implement Blue.

Indigo.

Lavender.

Light Blue.

Lime Blue.

Marine Blue.

Mascot.

Mauve.

Methyl Blue.

Mountain Blue.

Navy Blue.

Neutral Blue.

Nile Blue.

Normandy Blue.

Oriental Blue.

Peacock Blue.

Perfect Blue.

Pompeian Blue.

Porcelain Blue.

Prussian Blue.

Quaker Blue.

Robin’s Egg Blue.

Royal Blue.

Sapphire Blue.

Sea Blue.

Sky Blue.

Steel Blue.

Stone Blue.

Transparent Violet.

Turquoise Blue.

Ultramarine (Artificial) .

CHAPTER VII. Yellows.

Alabaster.

Amber.

Antique Bronze.

Asiatic Bronze.

Brass Yellow.

Bronze.

Bronze Yellow.

Buff.

Buttercup.

Cadmium Orange.

Canary.

Chamois.

Chamoline.

Citrine.

Citron.

Colonial Yellow.

Cream.

Daffodil.

Deep Cream.

Ecru.

Gamboge.

Gold.

Hay Colour.

Ivory.

Jonquil Yellow.

Leghorn.

Lemon.

Light Buff.

Light Deck.

Light Stone.

Lemon Yellow.

Maize.

Mander’s Yellow.

Manilla.

Marigold.

Melon.

Mushroom.

Middle Stone.

Naples Yellow.

Naples Yellow.

Ochre Yellow.

Old Gold.

Olive Yellow.

Orange.

Persian Orange.

Pompeian Yellow.

Portland Stone.

Primrose Yellow.

Primrose.

Spruce Yellow.

Stone.

Straw Colour.

Straw.

Yellow Lake.

Yellow Ochre.

Zinc Yellow.

CHAPTER VIII. Greens.

Aloes.

Apple Green.

Autumn Green.

Blue Green.

Bottle Green.

Bronze Green.

Brunswick Green.

Chartreuse.

Chrome Green.

Eau de Nil.

Egyptian Green.

Elephant Green.

Emerald Green.

Foliage Green.

French Green.

Gage Green.

Genuine Green.

Grass Green.

Green Slate.

Green Stone.

Grey Green.

Invisible Green.

Ivy Green.

Leaf Bud.

Light Green.

Lime Green.

Manse Green.

Marine Green.

Medium.

Mignonette.

Moscovite.

Moss Green.

Moss Rose.

Mountain Green.

Myrtle.

Night Green.

Nile Green.

Olive.

Oriental Green.

Pale Royal Green.

Peacock Green.

Pea Green.

Persian Green.

Pistache.

Prussian Green.

Quaker Green.

Reed Green.

Sage Green.

Sap Green.

Sea Foam.

Sea Green.

Seered Green.

Starling’s Egg Green.

Tea Green.

Velvet Green.

Venetian Green.

Water Green.

Willow Green.

CHAPTER IX. Browns, and How to Mix them.

Acorn Brown.

Alderney.

Arabian Brown.

Argus Brown.

Auburn Tan.

Autumn Leaf.

Bismark.

Bismark Brown.

Bistre.

Bronze Brown.

Brown.

Burnt Rose.

Burnt Sienna.

Burnt Umber.

Cafe au Lait.

Cappagh Brown.

Chesnut.

Chocolate.

Cinnamon.

Clay Drab.

Cocoanut Brown.

Coffee.

Copper.

Cork Colour.

Dark Drab.

Dark Lava.

Dark Oak.

Doe Colour.

Dove Colour.

Drab.

Fawn.

Foliage Brown.

French Ochre.

Golden Brown.

Indian Brown.

Lava.

Leather Brown.

Light Lava.

Lime Chocolate.

Light Oak.

Lizard Bronze.

Madder Green.

Mahogany.

Mast-coloured Paint.

Nut Brown.

Old Wood.

Olive Brown

Orange Brown.

Pomegranate.

Purple Brown.

Raw Sienna.

Raw Umber.

Russet Brown.

Russet.

Sandstone.

Seal Brown.

Sepia.

Sienna Brown.

Snuff Brown.

Tan.

Thrush Brown.

Turkey Umber.

Vandyke Brown.

Vienna Smoke.

Wallflower Brown.

CHAPTER X. Ground Colours for Graining.

Maple.

Medium Oak.

Light Oak and Birch.

Dark Oak.

Satinwood.

Pollard Oak.

Pitch Pine.

Italian Walnut.

Knotted Oak.

Rosewood and Dark Mahogany.

Mahogany, Dark.

Mahogany, Light.

American Walnut.

Antique Oak.

Oak, Antique.

Ash.

Birch.

Graining Colours.

CHAPTER XI. How to Test the Quality of Colours

Purity of the Material.

Purity of Tone.

Fineness of Grinding.

Spreading Capacity or Covering Power.

Body.

Tinting or Staining Strength.

The Permanence of Colours.

Greens.

Venetian, Indian and Tuscan Reds, etc.

Chromes.

Blacks.

Blues.

Umbers and Siennas.

Window Glass.

All Other Kinds of Window Glass.

Specific Gravity.

To Test the Purity of Turpentine.

Linseed Oil.

PIGMENTS. Some Useful Tables.

BRUSHES.

Some Useful Recipes.

SOME USEFUL HINTS ON PAINTS AND PAINTING.

The Harmony of Colour.

LIST OF USEFUL BOOKS.

INDEX.

ADVERTISEMENTS.

PREFACE.

Table of Contents

The author would for some reasons be inclined to offer an apology for this work in its present form, because it falls so far short of what might be expected in a comprehensive treatise on the subject of which it treats. To understand colour mixing the student should first carefully study colour theory, and then the properties of pigments. But it will be observed that there is but little relating to theory in this work, and the reasons are given distinctly, and are, in brief, that the subject is too complex a one to render it possible for it to be dealt with in the limited range of these pages, while another reason is that the subject is very well covered in several books published in late years by Professor

Church

,

George H. Hurst

, Professor

Rood

, and others.

The author, however, has ample justification for the publication of this little work in the fact that he has during the last fifteen years received, in his capacity as editor of painters’ publications, enquiries almost daily for a book giving colour mixtures, with actual samples of colours, in other words, one which would be useful to the man who wants to mix paints but who has not made a study of the subject.

A critic might object that it is impossible to give accurate colour mixtures, because the actual appearance of colour varies according to the light in which it is viewed, and also because the result obtained by mixing coloured pigments of different manufacture must vary greatly according to the quality of those colours. All these objections have been carefully borne in mind in the preparation of the contents of this work. It has been assumed that the colour mixtures will be viewed in an average good light, and it is further assumed that the colours which have been employed will not necessarily be of the very best quality but certainly not those which are very inferior. The chapters on colour testing, etc., have been added not only because these properly form a part of the subject, but because so many painters are deficient in a knowledge of them.

It need only be added that every one of the mixtures given in this work has been carefully made with the actual colours. The preparation of the list has been no inconsiderable work. The author therefore leaves his little book in the hands of practical readers in the hope that even if it falls short of being a complete treatise it may, at least, prove of some service in everyday work.

---

CHAPTER I.

Table of Contents

The Composition of a Paint.

Table of Contents

—Clearly the first thing to be done before studying the subject of paint and colour mixing is to determine what a paint or what a colour is. Without attempting to give a hard and fast definition, it may be said that a paint consists of any pigment, such as white lead, mixed with linseed oil, and thinned by means of turpentine to render it in such a condition that it may be readily applied to the surface of wood, iron and other work by means of a brush. Paint serves the purpose first of preserving the material to which it is applied, and secondly, but not always, a decorative object where the colour is of importance.

The principal pigment used in paint mixing is white lead, but there are many others that are also employed. Many painters look upon paint as necessarily consisting of white lead to which has been added sufficient colouring matter to give the desired tint. As a matter of fact, white lead may be wholly absent from a paint. For example, yellow ochre may be used by itself; iron oxide in the shape of Indian red, purple brown, Venetian red, or Tuscan red forms in itself a good paint if the colour is not objectionable. Again, in the lighter paints we sometimes have white lead replaced by an admixture of zinc white, barytes and other materials of the kind.

The oil used in mixing paint is used to combine the particles or pigment together. That is its chief object, but it is also employed to give a glossy surface and to bring the material to a proper consistency. Turpentine could be used for the latter purpose by itself, but the result would be what is termed a flat surface, or an absence of gloss. The turpentine, too, evaporates to a considerable extent. It is generally conceded, among those who have given close attention to the subject, that the durability of a paint depends largely upon the oil used; indeed, it has been likened to the life-blood of the paint. There is not much doubt that the best pigments may be replaced with others somewhat inferior without so much detriment to the quality of the