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How to paint permanent pictures

Chapter 4: THE SIMPLE PALETTE
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About This Book

The work presents practical guidance for artists on selecting and using pigments, vehicles, supports, and varnishes to produce durable paintings. It explains simple and complex palettes, permanent foundations, preparation of wood and metal supports, and the properties of oils, tempera, watercolors, waxes and mediums. The author discusses common causes of deterioration—fading, darkening, cracking, peeling—and prescribes materials and techniques to prevent them, including labeling and sequence of application. Chapters cover specific problem pigments to avoid, varnishes and blooms, repainting, restoration and cleaning, and framing. Advice is technical but conveyed in plain language to help painters and collectors produce and preserve long-lasting work.

THE SIMPLE PALETTE

THE average painter can get along perfectly with ten colors. In fact, the skilful artist can paint practically any picture he wants with Red, Yellow, Blue, Black and White. The Red, in this instance, would be a bright iron oxide, sold under the name of Venetian Red or Light Indian Red. The Yellow would be Medium Cadmium. The Blue would be Ultramarine Blue. The Black would be Lamp Black. The White would be Zinc White.

But, in order to work no hardship on the painter, ten colors are all that are needed for the average work. These ten can be intermixed, with the exception of Madder Lake, will not fade, will not react upon each other, nor will they interfere with the drying of each other. Following is the Palette with which an average painter can get along perfectly and from which no bad results are ever obtained:

  • Lamp Black.
  • Zinc White.
  • Bright Red Iron Oxide.
  • Raw Sienna or Yellow Ochre.
  • Burnt Umber.
  • Chromium Oxide, Opaque.
  • Chromium Oxide, Transparent.
  • Ultramarine Blue, or Cobalt Blue.
  • Cadmium Yellow.
  • Madder Lake.

Madder Lake must not be mixed with any pigment containing the Yellow Oxide of Iron, like Ochre or Raw Sienna. It is wise, if it can be helped, not to mix it with any other pigment, but to use it as a glazing color. Yet, there is no harm in mixing Madder Lake with Lamp Black or bright Red Oxide of Iron, or Cadmium Yellow.