Below we give a list of some of the colors shown on the preceding plates:
The Reds are represented by Figs. 13, 19, 20, 28, 29, 30, 76, and 95. Fig. 19 is a good orange red, and Fig. 30 a deep vermilion. Fig. 95 is a purple-red.
Figs. 37, 60, 63, 93, 125, and 126 represent Blues. Fig. 37 is a greenish blue; Fig. 60 is an excellent bine; Fig. 63 is a green-blue; Figs. 93, 125, and 126 are violet bines.
Orange is represented by Figs. 14, 39, 48, and 56. The best orange color is made by a mixture of the primaries red and yellow, or any red and yellow lying between them. A mixture of rose-lake and lemon-yellow will produce a dull orange color, due to the fact that rose-lake leans a little to purple, and lemon-yellow to green.
Green is represented by Figs. 38, 40, 45, 46, 47, 57, 58, 74, 75, 83, 85, 86, 101, 102, 103, and 104. Fig. 45 is a fine deep green, and Fig. 46 is a light yellow-green. Figs. 57 and 58 are blue-greens. Fig. 74 is a deep olive, and Fig. 75 is a medium olive. Fig. 83 is a fine color which is about half way between blue and green, and which can property be called a sea-green. Fig. 85 is a strong light green. The best green is made by a mixture of the primaries allow and bine, or any yellow and bine tying between them. A mixture of orange-yellow and violet-blue will produce an olive-green.
Purple is represented by Figs. 62 and 94. These two colors are reddish purples.
Violet is shown by Figs. 59 and 61, the former being the best of the two. It is very hard to produce a good purple or violet by mixture of red and blue inks. To obtain the best result, a carmine or rose-lake must be mixed with a pure ultramarine blue.
Brown is represented by Figs. 23, 27, 35, 36, 42, 43, 66, 72, 73, 88, 89, 107, 120, and 124. Figs. 35 and 36 are fine deep browns; Fig. 73 is a leather brown, and Fig. 81 is a sepia brown. Out of this list of browns the printer can surety find what is desired.
18
