White, Lake, Indigo.
" Lake, Prussian blue.
White, Black, Prussian blue.
" Blue black.
" Lamp black.
White, Madder brown, Prussian blue.
" Madder brown, Prussian blue, Yellow ochre.
" Indian red. Indigo.
" Light red, Prussian blue.
" Burnt sienna, Lake. Indigo.
White, Lake, Prussian blue, Yellow ochre.
" Lake, Indigo, Yellow ochre.
" Light red, Indigo.
" Vandyke brown, Lake, Indigo. " Burnt sienna, Indigo. " Burnt sienna, Lake.
White, Italian pink, Antwerp blue. " Italian pink, Prussian blue. " Yellow ochre, Indigo. " Burnt sienna, Indigo. " Brown pink, Indigo. " Raw umber, Indigo.
White, French green.
" Olympian green.
" Prussian blue, Chrome yellow.
White, Prussian blue, Raw umber. " Antwerp blue, Stone ochre.
White, Raw umber, Prussian blue.
" Orange lead. " Dutch pink. " Chrome yellow, Vermilion.
White, Rose pink.
" Crimson lake. " Scarlet lake.
White, Vermilion, Indian red, Purple brown.
" Vermilion, Indian red, Purple brown, Burnt stone ochre.
White, Vermilion, Prussian blue, Lamp black. .
White, Spanish brown, Venetian red, Vegetable black.
White, Prussian blue
White, Light red, Yellow ochre.
" Lake, Vermilion, Naples yellow.
White, Burnt sienna
" Burnt umber, Venetian red " Stone ochre, Vermilion.
White, Yellow ochre, Venetian red.
White, Burnt umber
" Raw umber. " Yellow ochre.
" Yellow ochre, Lamp black.
" Raw umber, Lamp black.
" Black, Indigo.
It must of course be understood that the colors are not to be mixed in equal quantities, but in such proportions as will produce the required hue, the slightest predominance of any one of the pigments gives the prevailing tone of the tints, whilst the addition of a further quantity of white produces all the numerous gradations, from lavender and lilac to French gray.
All colors in distemper are lighter when dry than they appear in a wet condition.
White is the basis of all tints, and is necessary in compounding the endless variety of pale colors required by the painter and decorator. Thus, white tinted with blue affords Paris white, French grays, silver grays, while among the red tints we have pink, carnation, coquilicot, and yellow with white gives primrose, straw-color and Isabella. To the colors compounded more or less with white we owe the innumerable tints of lilac, lavender, peach blossom, pea green and sage green, as shown in the preceding list of tints.
The painter is advised to mix the tints in different hues, giving in each experiment a predominance to one or other of the component colors.