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Most Viewed- Browns And The Cold Semi-neutral Grays Marrone Is Practically To
- Black Chalk
- Belong The Dutch And Flemish Schools; The Sensible Which Aims At
- Burnt Verdigris
- 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- To Which The Various Appellations Have Been Given Of Thenard's Blue
- Or Quercitron Yellow Is What Its Name Implies It Is Dark In
- Browns Grays And All Broken Colours It Is Likewise The Second
- The Third And Last Of The Primary Or Simple Colours Is Blue Which
- Opaque Oxide Of Chromium Green Oxide Of Chromium Chrome Oxide
- To Keep In Mind--the Glow Of Sunshine And The Cool Of Shade
- Lose Sight Of That The Colour Of Shadow Is Always Transparent And
- Neutral Colours Are Three Only White Black And Grey According
- Of Which Black And White Have Been Stated To Be The Opposed
- Note Here The Difference Between Gray As Spelt With An A And Grey As
Purple Being A Secondary Colour Composed Of Blue And Red It
follows of course that any blue and red pigments, which are not
chemically at variance, may be employed in producing mixed purples of
any required hue, either by compounding or grinding them together ready
for use, or by combining them in the various modes of operation in
painting. In such compounding, the more perfect and permanent the
original colours are, the more perfect and permanent will be the purple
obtained. To produce a pure purple, neither the red nor the blue must
contain or incline to yellow; while to compound a durable purple, both
the red and the blue must be durable also. Ultramarine and the reds of
madder yield beautiful and excellent purples, equally stable in water or
oil, in glazing or tint, whether under the influence of light or impure
air. Cobalt blue and madder red likewise afford good purples; and some
of the finest and most delicate purples in ancient paintings appear to
have been composed of ultramarine and vermilion, which furnish tints
equally permanent, but less transparent than the above, and less easily
compounded. Facility of use, and other advantages, are obtained at too
great a sacrifice by the employment of perishable mixtures, such as the
lakes of cochineal with indigo.
PERMANENT REDS. PERMANENT BLUES.
Cadmium Red. Cerulian Blue.
Liquid Rubiate. Cobalt Blue.
Madder Carmine. Genuine Ultramarine.
Rose Madder. Brilliant Ultramarine.
Mars Red. French Ultramarine.
Ochres. New Blue.
Vermilions. Permanent Blue.
It should be noted that all the above reds do not afford pure purples
with blue; those which contain more or less yellow, as cadmium red and
orange vermilion, furnish purples partaking more or less of olive, which
is a compound of purple and green. To those reds may be added the russet
Rubens Madder and the marrone Madder Brown, two pigments which are alike
eligible for mixed purple and mixed orange. No purple, it will be
remarked, equal in gorgeous richness to that produced from crimson lake
and Prussian blue is obtainable from the colours given; just as no mixed
green is of such depth and power if that blue be wanting as a
constituent. But, as our compound tints are given rather as examples of
durability than beauty, all semi-stable or fugitive mixtures are of
TTITLE PURPLE MADDER,
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