New PDF release: A grammar of colouring applied to decorative painting and

By George Field

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Extra resources for A grammar of colouring applied to decorative painting and the arts

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This explains an ancient tradition current in emblazonry authors on the heraldic art pretend that the yellow colour is a mixture of red and white. ; ; Baron F. Portal on Symbolic Colours. THE GRAMMAR OF COLOURING. 28 colour, they should be gradually passed to its opposite colour, and refreshed in the clear light of day. upon a In a warm less distance. The becomes totally but is other colours, except white, stronger tones of any colour subdue by light, yellow diminished than fainter hues in the lost, all its same proportion as opposite colours The contrasting colours of a are yellow purple inclining to blue when the yellow inclines to orange, and a purple inclining to red when the yellow inclines to green, in the mean proportions and contrasts exalt them.

44 received several false appellations, but is truly an Iodide or Si-iodide of mercury, varying in degrees of intense It has the body and opacity of vermilion, but should be used with an ivory palette-knife, as iron and most metals change it to colours varying from yellow to black. Strong light rather deepens and cools it, and redness. impure air soon utterly destroys its scarlet colour, and even metallizes it in substance. The charms of beauty and novelty have recommended it, particularly to amateurs and dazzling brilliancy might render it valuable for high and fiery effects of colour, if any mode of securing it from change should be devised at any rate ; ; should be used pure or alone.

It appears to have been prepared with great care, and successfully employed, by the old masters, and is an admirable dryer, being in the same as litharge, which and employed its is chemical nature nearly also sometimes ground in its stead. YELLOW OCHRE, Called also Mineral yellow, is a native pigment, found in most countries, and abundantly in our own. It varies considerably in constitution and colour, in which latter particular it is found from a bright but not very vivid yellow to a brown yellow, called spruce ochre, and is always of a warm cast.

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A grammar of colouring applied to decorative painting and the arts by George Field


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