This dark blue is a natural vegetable pigment. An imitation may be produced by using nine parts of black and four of Prussian blue, but this will not look like the real thing. Indigo should not be mixed with lead or lead chromates. It is a very useful color and deserves to be used to a much greater extent than it is at present.
Three parts of ultramarine blue and one part of carmine, added to zinc as a base, give a very good lavender tint for inside work. Ivory black mixed with a little carmine and ultramarine and added to white lead may be employed for outside work.
This is simply an ultramarine blue tint produced by the addition of zinc white, or the color may be obtained by tinting white lead with Prussian blue.
This is a color much used formerly for mixing distemper, but artificial ultramarine has to a great extent supplanted it. It must not be used in oil. The color usually sold for lime blue is a variety of ultramarine.
A very dark blue, which is obtained by mixing one part of ultramarine blue with nine of ivory black.
This is a very dark blue shade, which is got by mixing black and blue in the proportion of seven parts of the former to one of the latter with a very little green.
Four parts of cobalt, twelve parts of oxide of zinc, and one part of carmine lake give an excellent mauve, or the color may be obtained by mixing yellow ochre, blue black, and Venetian red with a little white lead. Another shade is obtained with blue, red and white mixed in the following proportions: blue three parts; white, two parts; red, one part. Or white may be tinted with ivory black, carmine and ultramarine.
Fig. 23. Camel Hair Striping Pencils.
Mix green with twelve times its quantity of blue and a touch of red.
One part of ivory black, two parts of rose madder, three parts of cobalt blue, and four parts of white lead. This color is only intended for artists' use.
Ivory or drop black mixed with one-fourth the quantity of blue will give this shade.
A series of neutral blues may be made by tinting white lead with Prussian blue and adding burnt umber, the quantity of blue and umber being varied according to the tint required. Good neutral blues may also be made by tinting white with raw umber and a little Prussian blue. Add either a little burnt sienna if a warm neutral is required, or a little black if one cool in appearance is desired.