Most Viewed

- Browns And The Cold Semi-neutral Grays Marrone Is Practically To
- Also Called Scarlet Chrome Is A Bright Chromate Of Lead Of An
- Black Chalk
- Composition Chemical Analysis Has Shown Several Of The Blues To Be
- Burnt Verdigris
- Belong The Dutch And Flemish Schools; The Sensible Which Aims At
- Less Known As English Red Prussian Red And Scarlet Ochre True
- Olive In Dark Green; Russet And Citrine In Dark Orange The
- Known Likewise As Raw Sienna Earth Terra Di Sienna &c Is A
- Root Of The Anchusa Tinctoria Commonly Known As Alkanet A Plant

Least Viewed

- Distilled Verdigris Or More Properly Refined Verdigris The Best Is
- Sometimes Called China Or Chinese Ink Is Chiefly Brought From
- Egypt The Greeks Obtained The Knowledge Of Their Ars Chromatica
- While We Avoid The Compounding Of Contrasting Colours That Is The
- Only That Of Extreme Light Objects Opaque It Follows That White Is To
- Secondary Colours Are Three Only Orange Green And Purple
- Colours With The Neutral Black Of The Various Combinations Of Black
- Have To Be Learnt For Each Pigment Has Its Own Peculiar Habitudes
- These Are False Appellations Of A White Lead Called Also French
- Of These There Are Three Tints Deep A So-called Pale And Lemon

Light Does Upon Opacity Or Reflecting Power Opacity Is Therefore

the antagonist of transparency, and qualifies pigments to cover in
dead-colouring, or solid painting, as well as to combine with
transparent colours in forming tints; and hence it is that
semi-transparent pigments are suited in a mean degree both for dead
colouring and for finishing. As excellencies, therefore, transparency
and opacity are relative only--the first being as indispensable to shade
in all its gradations, as the latter is to light. With regard to
transparent and opaque colours generally, it is worthy of attention in
the practice of the oil-painter, that the best effects of the former are
produced when they are used with a resinous varnish; as opaque pigments
are best employed in oil, and the two become united with best effect in
a mixture of these vehicles. The natural and artificial powers, or depth
and brilliancy, of every colour lie within the extremes of black and
white; hence it follows that the most powerful effects of transparent
colours are obtained by glazing them over black and white. As, however,
few transparent pigments have sufficient body, or tinging power for
this, it is often necessary to glaze them over tints, or deep opaque
colours of the required hues. There is a charm in transparent colours
which frequently leads to an undue use thereof in glazing; but glazing,
scumbling, and their combined process must be employed with discretion,
according to the objects and effects of a picture.





Next: Working Well Is A Quality Which Depends Principally Upon Fineness Of
Previous: Transparency Is An Essential Property Of All Glazing Pigments And

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