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How to paint permanent pictures

Chapter 5: THE COMPLEX PALETTE
By Maximilian Toch
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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 COMPLEX PALETTE

THE following are colors which may be mixed with each other without producing any deleterious effect or without undergoing any change; excepting Madder Lake, as mentioned on the previous page.

  • Lamp Black.
  • Ivory Black.
  • Bone Black.
  • Graphite.
  • Zinc White.
  • Permanent White.
  • Bright Red Oxide.
  • Venetian Red.
  • Indian Red.
  • Burnt Sienna.
  • Raw Sienna.
  • Yellow Ochre.
  • Burnt Umber.
  • Roman Ochre.
  • French Ochre.
  • Oxford Ochre.
  • Chromium Oxide, Opaque.
  • Chromium Oxide, Transparent.
  • Ultramarine Blue, Natural or Artificial.
  • Cobalt Blue, Natural or Artificial.
  • Cadmium Yellow, all shades.
  • English Vermilion; or any Vermilion made of Mercury.
  • Madder Lake or Alizarin Lake.

With the exception of the Madder and Alizarin2 Lakes, all the other colors can be mixed with each other without any danger of decomposition, and Madder Lake can be mixed with most of these colors, with the exception of the following:

  • Yellow Ochre.
  • Raw Sienna.
  • Transparent Chromium Oxide.

For diluting, Madder Lake, Permanent White (Blanc Fixe) may be used.