How to Mix Oil Paints

Ecru—This color is intended to show the tint of raw flax or hempen fabrics, and may be pro duced by mixing together white lead, French ocher, burnt sienna, and lampblack.

Electric Blue—Ultramarine blue and white lead, to which add a little raw sienna.

Emerald Green—A very good imitation may be obtained by using the lightest shade of chrome green.

Fawn—Eight parts of white, two of medium chrome yellow, one of Venetian red, and one of burnt umber, all of good quality, mixed together, make a good fawn color.

Flesh—Use white for the base, and add yel low ocher, Venetian red, and medium chrome yellow. Use about three parts of white lead to two parts of all the colors put together, and use a little more red than of the ocher and yellow.

French Grey—This is often made by simply adding ivory black to white; but a very small quantity of carmine and ultramarine—just enough to give a tinge—will be found to pro duce the truest French grey.

French Red—The color known by this name is made by lightening up Indian red with ver milion, and glazing with carmine.

Gazelle—Mix dark Tuscan red, Venetian red, and lampblack; lighten up with white lead.

Gold—Tint white with medium chrome yel low, and add a little French ocher and just a touch of vermilion; or burnt sienna may be used instead of the ocher and vermilion.

Golden Brown—Use French ocher, orange chrome yellow, and lampblack, and lighten up with white lead.

Grass Green—Three parts of lemon chrome yellow and one of Prussian blue will give a green that may be termed grass green; but to get the true grass green, use extra light chrome green just as it comes from the can. On very high-class work this green may be glazed over with Paris green, when a very handsome effect will be obtained.

Green—There are so many shades of green that it is thought best to give the mixing of each under its distinguishing title, such as olive green, bottle green, etc.

Grey Green—Mix together white lead, ultra marine blue, lemon chrome yellow, and lamp black.

Greys—Greys vary in intensity from very light to very dark. They are made simply by mixing white and lampblack. Eight parts of white and two of black give a medium grey.

They also vary considerably in the hue, which ranges from blue to brown. A little indigo added to white gives a grey of a blue hue; and light red and Prussian blue with white, a brown ish hue.

Hay Color—Mix white lead, orange chrome yellow, light chrome green, and Tuscan or In dian red.

Jonquil—This is a bright yellow, and the name is derived from the flower jonquil. To produce it, add a little pure vermilion to medi um chrome yellow, and add this to white as a base.

Lavender—Take white as a base, and add ivory black and a little carmine and ultra marine.

Lead Color—Add lampblack and Prussian blue to white. Eight parts of white, one of black, and one of blue make an average lead color; but some painters omit the blue or use very little, and use about one and a half parts of lampblack. Other painters prefer to use indigo.

Leaf Bu.

Mix white lead, orange chrome yellow, and light chrome green.

Leathe.

This color is made by taking French ocher as a base, and adding Venetian red and burnt umber. The latter should be added only when a warm tone is required.

Lemo.

A perfect lemon color is first-class lemon chrome yellow, but white may be added if necessary.

Light Buf.

Add French ocher to white. Only comparatively little ocher will be required for a light buff.

Light Gre.

This is produced simply by adding lampblack to white.

Light Oa.

Use white as a base, and add French ocher and Venetian red. Five parts of white, two of ocher, and one of red make a color of average intensity; but ideas as to the color of oak vary much.

Lila.

Use white as a base, and add dark Indian red and Prussian blue in the proportion of three of the former to two of the latter. Vio let lightened up with white also gives a lilac.

London Smoke—Use yellow ocher, ultra marine blue, and lampblack, and lighten up with white lead.

Magenta—Mix together carmine and vermil ion, and add a very little ultramarine blue.

Maroon—Add to carmine ivory black and a small portion of orange chrome yellow. A little dark Tuscan red may also be added, if desired.