DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.19571#0058
44 THE ARTIST'S ASSISTANT,
ous i fome being of a fimple nature, and requiring
only to be purified and reduced to a proper con-
fiftence or texture ; and others being compounds of
different bodies, to be formed only by complex pro-
cefTes. It is therefore very difficult to give luch ere-
J p o
neral directions, for the making every fort of co-
lour as may be intelligible to all ; the utenfils to be
employed, as well as the methods to be purfued, be-
ing fuch as belong to different arts and trades.
Where, neverthelefs, fimple means, and the ufe
of fuch utenfils as are generally known, may be fuffi-
cient to perform what is wanting, it is beft to avoid
all technical terms, and more complex methods of
operation, adopting fuch a mode of inftruction as
maybe univerfally intelligible :—We now proceed
to the nature and preparation of the different co-
lours, as they follow in their claffes.
Class I. * Of RED COLOURS.
Vermillion, is one of the molt ufeful colours
in every kind of painting; except enamel o r on glafs ;
as it is of a moderate price, fpends to great advan-
tage in any kind of work, and ftands or holds its
colour
* Class
Scarlet, or tending to the orange.
Vermillion.
Native cinnabar.
Red lead.
Scarlet oker.
Common Indian red1.
Spanifh brown.
Terra diJenna burnt,
I. RED.
Crimfon, or tending to the purple.
Carmine.
Lake.
Rofe pink.
Red oker.
Venetian red,
ous i fome being of a fimple nature, and requiring
only to be purified and reduced to a proper con-
fiftence or texture ; and others being compounds of
different bodies, to be formed only by complex pro-
cefTes. It is therefore very difficult to give luch ere-
J p o
neral directions, for the making every fort of co-
lour as may be intelligible to all ; the utenfils to be
employed, as well as the methods to be purfued, be-
ing fuch as belong to different arts and trades.
Where, neverthelefs, fimple means, and the ufe
of fuch utenfils as are generally known, may be fuffi-
cient to perform what is wanting, it is beft to avoid
all technical terms, and more complex methods of
operation, adopting fuch a mode of inftruction as
maybe univerfally intelligible :—We now proceed
to the nature and preparation of the different co-
lours, as they follow in their claffes.
Class I. * Of RED COLOURS.
Vermillion, is one of the molt ufeful colours
in every kind of painting; except enamel o r on glafs ;
as it is of a moderate price, fpends to great advan-
tage in any kind of work, and ftands or holds its
colour
* Class
Scarlet, or tending to the orange.
Vermillion.
Native cinnabar.
Red lead.
Scarlet oker.
Common Indian red1.
Spanifh brown.
Terra diJenna burnt,
I. RED.
Crimfon, or tending to the purple.
Carmine.
Lake.
Rofe pink.
Red oker.
Venetian red,