The Painter, Gilder, and Varnisher's Companion |
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... tone , the height of the tone may influence the Beauty of the Association ...... 332 Influence of the Contiguity of White on Colors .... 310 Influence of the Contiguity of 310 Black on Colors ... 333 Grounds .... Painting in Oil .. 334 ...
... tone , the height of the tone may influence the Beauty of the Association ...... 332 Influence of the Contiguity of White on Colors .... 310 Influence of the Contiguity of 310 Black on Colors ... 333 Grounds .... Painting in Oil .. 334 ...
Page 66
... tone which you desire to give to your work , whether deep or light , red or yellow . For bronz- ing or very pale gilding , a mixture of asphaltum and drying oil , diluted with oil of turpentine , is much re- commended . One of the ...
... tone which you desire to give to your work , whether deep or light , red or yellow . For bronz- ing or very pale gilding , a mixture of asphaltum and drying oil , diluted with oil of turpentine , is much re- commended . One of the ...
Page 140
... tones may be produced on glass by placing on its surface a layer of three parts of pipe - clay , well burnt and pounded , and rubbed up with one part of chloride of silver . The glass is then submitted to heat in a muffle . After ...
... tones may be produced on glass by placing on its surface a layer of three parts of pipe - clay , well burnt and pounded , and rubbed up with one part of chloride of silver . The glass is then submitted to heat in a muffle . After ...
Page 142
... tones are wished . When these greens contain the oxide of copper , they require a previous fusion , for it is only in the state of silicate or of salt that this oxide gives a green . The greens of copper disappear entirely at a high ...
... tones are wished . When these greens contain the oxide of copper , they require a previous fusion , for it is only in the state of silicate or of salt that this oxide gives a green . The greens of copper disappear entirely at a high ...
Page 147
... tone by a moderate burning . In a stronger fire , these colours become yellowish , and even completely disappear . It is necessary to mix the purple of Cassius with considerable flux , and this mixture must It be made while the purple ...
... tone by a moderate burning . In a stronger fire , these colours become yellowish , and even completely disappear . It is necessary to mix the purple of Cassius with considerable flux , and this mixture must It be made while the purple ...
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Common terms and phrases
acid appear applied beautiful body boiled brush burnt sienna carmine chrome citrine clean coat cobalt Cobalt Green complementary compound contrast copper dark distemper dries dryer drying oil durable effect employed flux fresco gamboge gilding glass glazing gold grain gray green grind ground harmony heat HENRY CAREY imitate impure air Indian red injurious iron lake lamp-black less light linseed oil litharge madder manganese mixed mixture Naples yellow nature neutral oil of turpentine olive orange ornament orpiment ounces overgrainer oxide paint painter panel pencil piece pigments polished pounds Practical prepared primary colors produce properties proportions Prussian blue pure purple quantity russet russet color secondary seed-lac semi-neutral shade Sienna Earth smooth spirits stone striping substances surface tertiary tertiary colors tints tone transparent ultramarine umber Vandyke brown varnish Violet warm wash white lead wood yellow ochre zinc
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