ON COLOURS AND PIGMENTS GENERALLY.

Find a list of articles that fall under the category ON COLOURS AND PIGMENTS GENERALLY.





As A Local Colour Which Is A Technical Term For The Natural Colour
By Mixing His Colours With White The Artist Obtains His Tints By
Mixing Colours With Colours He Produces Compound Colours Or Hues
And By Mixing Colours Or Tints With Black He Gets Shades It Is A
There Are Five Classes Of Colours Viz:--the Neutral The Primary
The Secondary The Tertiary And The Semi-neutral
Neutral Colours Are Three Only White Black And Grey According
Primary Colours Are Three Only Yellow Red And Blue They Are
Secondary Colours Are Three Only Orange Green And Purple
Tertiary Colours Are Three Only Citrine Russet And Olive
Those Which Are Positive Or Definite; And The Three Colours Of Each
Predominates To The Eye Constitute The Negative Or Neutral Colours
Of Which Black And White Have Been Stated To Be The Opposed
Extremes And Greys Their Intermediates Thus Black And White Are
Semi-neutral Colours Belong To A Class Of Which Brown Marrone
And Gray May Be Considered Types They Are So Called Because They
Colours With The Neutral Black Of The Various Combinations Of Black
Note Here The Difference Between Gray As Spelt With An A And Grey As
Spelt With An E The Two Names Being Occasionally Confounded Gray
Grey Is Neutral And Is Composed Of Or Can Be Resolved Into Black And
Of Shades Between The Extremes Of Light And Dark As Each Compound
Colour Also May Comprise A Similar Series Of Hues Between The Extremes
Thus Russet And Olive Compose Or Unite In Dark Purple; Citrine And
Olive In Dark Green; Russet And Citrine In Dark Orange The
Orange For Instance Which Is Naturally An Orange Pigment And Not
Whatever The Practice Adopted Permanent Original Pigments Should Be
To The Practice Of Producing Tints And Hues By Grinding Pigments
Together Instead Of Blending Them On The Palette May Be Attributed
Example Be In A State Which Chemists Have Termed Protoxide They Are
Becoming What Is Called Peroxidized May By Consequence Change Or
Pigments And Bases Are Subject To Deoxidation Or To A Loss Of Oxygen
Picture--that Picture Which May Meet With Foul Exhalations But Must
With The Exception Of Madder Those Colours Mostly Affected By Light
And Air Are Of Organic Origin Such As Gallstone Indian Yellow And
The Pigments Liable To Injury From Sulphuretted Hydrogen &c Are
Many Colours Are Apt To Change From The Action Of White Lead And Other
Numerous Colours Are Likewise Injured By Lime And Fire And Cannot
Vehicles And Varnishes With Which They Are Mixed Many Of These Have
Attention Notably The Permanent Transparent Yellow Called Aureolin
Highest Order Merits Regard Orient Yellow Distinguished For Its
Brilliancy And Absolute In Permanency Cadmium Red Next Attracts
With It May Be Coupled Cadmium Orange A Colour Equally Brilliant And
Pigments Of Whose Thorough Durability There Is No Doubt Comes The
Splendid Viridian A Green Nothing But Fire Will Change And No
Have To Be Learnt For Each Pigment Has Its Own Peculiar Habitudes
Well To All Of These Must Be Superadded Durability When Used A
Beauty Commonly Comprises In The Same Pigment Delicacy Purity And
Truth Of Hue Is A Relative Quality In All Colours Except The Extreme
Blue Is Furnished By Aureolin Alluded To In The Last Chapter The
Transparency Is An Essential Property Of All Glazing Pigments And
Light Does Upon Opacity Or Reflecting Power Opacity Is Therefore
Working Well Is A Quality Which Depends Principally Upon Fineness Of
Texture And What Is Called Body In Colours; Yet Every Pigment Has Its
Fineness Of Texture Is Produced By Extreme Grinding And Levigation
Desiccation Or Drying The Well-known Additions Of The Acetate Or