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Chapter Page I On Colouring
On the Relations and Harmonies of Colours
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acid admixture afford alumina artificial artist aureolin baryta beauty bright brilliancy brown madder burnt Sienna carbonate carmine chemical chromate chrome chromium citrine coal-tar cobalt cochineal colouring matter compound contrast copper crimson dark deep depth dries drying durable earth effect eligible employed exposure foliage French blue fugitive fugitive pigment gamboge glazing gray green grey harmony Hence impure air Indian yellow indigo iron lake lamp black latter less liable likewise litharge madder lake marrone ments metal mixed mixture Naples yellow native nature neutral obtained olive opacity opaque orange orpiment oxide painting pale palette picture possesses potash precipitate prepared primary produced Prussian blue pure purple rendered rich rose madder russet scarlet Scheele's Green secondary semi-neutral semi-stable sepia shade shadow soluble solution stable substances sulphate sulphide sulphur sulphuretted tertiary thallium tints tone transparent ultramarine umber variety varnish vermilion violet warm washes water and oil white lead yellow ochre yields zinc