|It is very important at the outset to consider the qualities of this very important line. In some hands it is broad and shallow on the surface of the hand, in others it is deep and fine; the appearance of this line is very often deceptive, and ... Read more of The Line Of Life at Palm Readings.org|| Informational|
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Most Viewed- Browns And The Cold Semi-neutral Grays Marrone Is Practically To
- Black Chalk
- Burnt Verdigris
- Belong The Dutch And Flemish Schools; The Sensible Which Aims At
- Also Called Scarlet Chrome Is A Bright Chromate Of Lead Of An
- Composition Chemical Analysis Has Shown Several Of The Blues To Be
- Less Known As English Red Prussian Red And Scarlet Ochre True
- Known Likewise As Raw Sienna Earth Terra Di Sienna &c Is A
- Root Of The Anchusa Tinctoria Commonly Known As Alkanet A Plant
- Olive In Dark Green; Russet And Citrine In Dark Orange The
Least Viewed- Pigment The [greek: Kinnabari] Of The Greeks And The Minium--a Term
- To Keep In Mind--the Glow Of Sunshine And The Cool Of Shade
- Extract From Mr Aaron Penley's English School Of Painting In Water
- Red And Blue In The Proportions Of Five Of The Former To Eight Of
- Sometimes Called China Or Chinese Ink Is Chiefly Brought From
- Together Instead Of Blending Them On The Palette May Be Attributed
- Transparency Is An Essential Property Of All Glazing Pigments And
- Fineness Of Texture Is Produced By Extreme Grinding And Levigation
- With Regard To Colours Individually It Is A General Law Of Their
- Latent Colour Not Immediately Apparent Apart From The Beauty Which A
Once Known As Persian Red Is Brought From Bengal It Is A Natural
earth rich in peroxide of iron, of a purple russet hue and good body,
and valued when fine for the clearness and soft lakey tone of its tints.
In a crude state it is a coarse powder, full of extremely hard and
brilliant particles of a dark appearance and sometimes magnetic. It is
greatly improved by grinding and washing over, and is very permanent.
Neither light, impure air, mixture with other colours, time, nor fire,
effects any sensible change in it; but being opaque and not keeping its
place well, it is unsuited for glazing. This pigment differs
considerably in its hues, that which is most rosy being esteemed the
best, and affording the purest tints. Inferior ochres were formerly
substituted for Indian red, which procured it a variable character; but
the colour being now obtained abundantly can in general be had genuine.
It is a good drier.
Mixed with Indian ink, it furnishes useful shadows; and compounded with
cobalt or indigo, most serviceable grays. For sunsets, where deep purple
lines are louring over the horizon's brink, a mixture of French blue
with a little Indian red and lake is admirably adapted. In twilight and
stormy clouds, in sails and buildings, in shade carnations of portraits
and backgrounds, &c., the red is often employed.
TTITLE LIGHT RED
Is an ochre of an orange-russet hue, chiefly valued for its tints. The
principal yellow ochres afford this colour best, and the brighter and
clearer the yellow ochre is from which it is prepared, the brighter will
the red be, and the better flesh tints will it yield with white. Light
red has the good properties common to ochres, dries capitally, and
furnishes an excellent crayon. It is much used both in figure and
landscape painting, giving fine grays with cobalt, and serviceable
compounds with yellow ochre, indigo, lamp black, rose madder, Payne's
grey, brown madder, &c.
Terra Puzzoli, a volcanic production, is a species of light red, as is
the Carnagione of the Italians.
TTITLE VENETIAN RED,
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