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adulterant applied artists become better blue bristle brown brush buildings burnt called carriage cause chrome yellow clean coat cover dark decoration described edge effect finishing flat French gilding give given glass glue gold graining Gray green ground hair hand hard heading hold imitated inch iron kinds known lead for base least light linseed oil look manner marble material matter medium metal mixed natural nearly needed ochre ordinary painter painting paragraph paste pigments possible prepared priming produce proper quantity ready rubbing shades shape side sienna sizes stains stencil suit surface thinned tints tion tone trade transparent turpentine umber usually various varnish veining wall wanted water colors white lead wood zinc
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.