Modern Painter's Cyclopedia |
From inside the book
Results 1-5 of 44
Page 129
... burnt , like the umber vary greatly , so much so as to be hardly recognizable as being of the same nature — the poor , showing a muddy brownish red tone in the burnt , while the good has a rich subdued red which has a clear lakey ...
... burnt , like the umber vary greatly , so much so as to be hardly recognizable as being of the same nature — the poor , showing a muddy brownish red tone in the burnt , while the good has a rich subdued red which has a clear lakey ...
Page 134
... greens ? 83 . C. What about cobalt or zinc greens ? d . What is said of viridian ? e . What of Paris or Emerald green ? a . What is said generally of the browns ? 1 84 . b . What about raw and burnt umbers 134 Modern Painter's Cyclopedia.
... greens ? 83 . C. What about cobalt or zinc greens ? d . What is said of viridian ? e . What of Paris or Emerald green ? a . What is said generally of the browns ? 1 84 . b . What about raw and burnt umbers 134 Modern Painter's Cyclopedia.
Page 135
Frederick Maire. 84 . b . What about raw and burnt umbers ? C. What about raw and burnt sienna ? d . What is Vandyke brown ? a . What is said of the blacks generally ? b . What is lampblack and what are its uses ? C. Where does gas black ...
Frederick Maire. 84 . b . What about raw and burnt umbers ? C. What about raw and burnt sienna ? d . What is Vandyke brown ? a . What is said of the blacks generally ? b . What is lampblack and what are its uses ? C. Where does gas black ...
Page 144
... Burnt sienna for base ; add burnt umber and orange chrome yellow ; lighten slightly with white lead to suit . Black slate . Lampblack for base ; Prussian blue ; slightly lighten it up with white lead . Bordeaux blue . Lampblack for base ...
... Burnt sienna for base ; add burnt umber and orange chrome yellow ; lighten slightly with white lead to suit . Black slate . Lampblack for base ; Prussian blue ; slightly lighten it up with white lead . Bordeaux blue . Lampblack for base ...
Page 146
... Burnt umber for base ; add white lead , French ochre and Venetian red . Cambridge red . Vermillion for base ; add Prussian blue to suit . Canary . Use chrome yellow of that name or lemon yellow for base , lightened up with zinc white ...
... Burnt umber for base ; add white lead , French ochre and Venetian red . Cambridge red . Vermillion for base ; add Prussian blue to suit . Canary . Use chrome yellow of that name or lemon yellow for base , lightened up with zinc white ...
Other editions - View all
Common terms and phrases
adulterant applied artists barytes better blistering bronze brown burnt sienna burnt umber calcimine camel's hair carriage ceiling chrome green clean dark decoration distemper edge finishing fixed oils flat fresco gilding Girth give glass glazing glue gold leaf grainer Gray ground coat imitated inch Indian red iron ivory black japan kinds ladders lampblack lead for base light linseed oil look madder lake marble material medium chrome yellow metal mixed moisture nearly needed oil paint orange chrome yellow painter paragraph pigments plaster prepared priming produce proper Prussian blue putty quantity raw and burnt raw sienna raw umber rubbing second coat shades sign painting sizes sponge stains stencil stippling suit surface thinned tint-how tints tion tone transparent trifle turpentine ultramarine blue usually varnish brushes veining Venetian red wall paper water colors white lead wood zinc white
Popular passages
Page 393 - It certainly is not in good taste to stain woods in colors which do not belong to them, as blues, greens, etc., and while this is a free country, etc., as long as a person is not sent to the penitentiary for committing outrages against nature, nor to insane asylums, it is very probable that the practice will go on undisturbed. But it is vulgarity, to say the least of the practice, and painters should not encourage it.
Page 63 - With all the cheap John sort of plastering that is being done by contractors at a price which would mean a sure loss to them if they used good material, but which must be done so as to make a profit anyhow, many of the surfaces the calciminer has to 'deal with will be found very porous and absorbing...
Page 448 - ... surface. The crepe paper, cheese cloth and burlap also produce fine, simple patterns but slightly different from each other. The heavy muslin when crumpled up into a wad gives an especially pleasing pattern resembling the figure of Spanish leather when done in the burnt umber or Van Dyke brown ovef a ground coat of ivory.
Page 63 - An ideal wall to work upon is one that will be sufficiently hard to have but little suction, nearly but not quite non-absorbent. The patent plastered walls left either in a...