Brown Stone—IN/fix orange chrome yellow, dark Tuscan red, and lampblack. Add white lead until the desired tint is obtained.
Buff—Light or dark buffs are made by tak ing white as the base, and adding French ocher. If a very dark buff is required, a very little Venetian red may be added; but, as a rule, the French ocher will be sufficient. Chrome yellow and white, tinged with Venetian red, may also be used.
Buttercup Yellow—This color is produced simply by mixing together lemon chrome yellow and white lead.
Canary—This is simply a very light but bright yellow. Add lemon chrome yellow to white until the desired shade is obtained. If an average chrome is used, the proportions will be about three parts of yellow to five of white.
Carnation—This beautiful red is made by adding carmine to pure vermilion, lightening up with zinc white, if necessary. It need hardly be added that to obtain the requisite purity and intensity of carnation, only the best vermilion and carmine must be used.
Cerulean—This is obtained by lightening up ultramarine blue with white.
Chestnut—This color is generally accepted as that of the skin of the chestnut—a rich brown. It is made from Venetian red as a base, with the addition thereto of medium chrome yellow, yellow ocher, and lampblack, in about equal pro portions.
Chocolate—A very rich chocolate color may be obtained by adding carmine to burnt umber.
A less brilliant color will be produced by using lake instead of the carmine. If a chocolate of a more brownish cast is required, make a brown by mixing Indian red and lampblack, and lighten up with yellow ocher, or mix Spanish brown, Venetian red, and vegetable black.
Citrine—Mix together with lead, orange chrome yellow and lampblack.
Citron—This is a rich and dark green, that takes its name from the citron fruit. It is made by adding Prussian blue, chrome yellow, and white to Venetian red. If a very strong color is required, the white may be omitted.
Claret—This color may be obtained by mix ing Venetian red and black, but by far the rich est color is obtained as follows—mix together ultramarine and carmine, then add vermilion, and tone down with a very little black—ivory black is best.
Clay Drabs—These colors vary a good deal in intensity. Take white as a base, and add raw umber and raw sienna, with a very little medium chrome yellow.
Cobalt—There is a regular blue that is sold as cobalt, and that may be used exactly as pur chased; or it may be lightened up somewhat with white, if required. Cobalt cannot be success fully imitated by mixing other blues.
Copper—To produce this color in its full richness, only first-class materials should be em ployed. Six parts of Venetian red, three of medium chrome yellow, and two of lampblack will give satisfactory results; but less of the black will frequently have to be used, especially when the red and yellow are second-grade qual ity.
Cream—Add French ocher to white. Only a little ocher will be required; if more is used, the color would more properly be termed a buff. Chrome yellow and Venetian red added to white will also give a buff.
Crimson—This color may be produced by using the dark shades of scarlet reds or dark English vermilion, adding a little carmine. A richer result will be obtained if the carmine is used to glaze with.
Dove—Lampblack and ultramarine blue mixed with white, and tinted up with a little Indian red, will give a dove color.
Drab—Add to a base of white, raw or burnt umber and a little Venetian red.
Dregs of Wine—Mix together dark Tuscan red and lampblack, and add a little white lead.