How to Mix Oil Paints

Mastic—Use French ocher, Venetian red, and white lead, in the proportions required, and add a trifle of lampblack.

Mauve—Add to yellow ocher ivory or lamp black, Venetian red, and a little white lead.

Medium Grey—Eight parts of white and two of lampblack make a medium grey.

Mouse—Use white as a base, and add lamp black and a very little burnt umber and Ve netian red.

Myrtle—Mix together dark chrome green and ultramarine, and lighten up with a little white lead.

Oak—See Light Oak.

Old Gold—Add to white as a base medium chrome yellow, French ocher, and a little um ber.

Olive—Mix together eight parts of lemon chrome yellow, one part of lampblack, and one part of Prussian blue. Ocher may be used in stead of yellow, or both yellow and ocher to gether.

Olive Brown—Mix three parts of burnt um ber with one part of lemon yellow. This will give an average olive brown. A more or less intense color can be obtained by varying the proportions of the colors.

Orange—This color may be made from chrome yellow.

Pea Green—This color is obtained simply by adding medium chrome green to white as a base. Five parts of white to one of green give an average pea green.

Peach Blossom—White toned up with first class Indian red will give a fine peach-blossom color; but eight parts of white, one of Tuscan red, one of Prussian blue, and one of medium chrome yellow will give a fair substitute. In dian red, vermilion, purple brown, and white may also be used.

Peacock Blue—Add cobalt blue to white, vith a very little Chinese blue. Another way to produce the same color is to mix very light chrome green with white lead and ultramarine blue.

Pearl—This color may be described as a very light French grey. It is produced by adding ivory black to white, with a faint tinge of ultra marine and carmine.

Pink—A pink may be made by adding al most any red or lake to white--the brighter the red, the richer the pink. The richest pink is made by adding carmine to white.

Plum—Mix together ultramarine blue and carmine; add a little ivory black and a very lit tle white. This makes a very rich plum. More white may be used and the black omitted.

Pompeian Red—There is a good deal of dif ference of opinion as to the best method of pro ducing this color, but vermilion, burnt sienna, and umber, lightened with ocher, may be relied upon for giving good results. A little vermilion added to Venetian red will also be found to give a good rich tone.

Portland Stone—Add raw umber to yellow ocher, lightening up with white until the requi site tone is obtained. Three parts of yellow ocher, three parts of raw umber, and one of white will produce a somewhat dark Portland stone color, but more of the ocher and less of umber give a color that comes nearest to the popular idea of this color.

Primrose—Add to white lead as much chrome yellow as may be necessary to produce the desired intensity of color.

Purple—Add Indian red to white; or it may be obtained in the same manner as described for lilac, but with a larger proportion of blue.

Purple Brown—This color is made by mix ing a dark shade of Indian red with lampblack and ultramarine blue. The tint produced is

usually too dark for practical use, and it may be lightened up with white lead as may be desired.

Quaker Drab—Take white lead, lampblack, burnt sienna, and French ocher, and mix to gether.

Robin's Egg—This color is produced by add ing ultramarine to white, with a little light chrome green.

Rose—Add carmine to zinc white. The purity of the white of the zinc gives a very perfect rose color.

Russet—Mix together raw umber, medium chrome green, and white with a little orange chrome yellow. A simpler plan is to use white lead and orange chrome yellow with a little lamp black.

Russian Grey—Mix together white lead, lampblack, ultramarine blue, and pale Indian red.

Salmon—French ocher, burnt umber, and Venetian red, added to white as a base, will produce this color; or white lead, burnt sienna, French ocher, and a small quantity of vermilion may be used.

Scarlet—Use pale vermilion or the various scarlet reds that are on the market.

Shrimp Pink—Mix white lead, Venetian red, and burnt sienna, and add a little vermilion.

Silver—Add a little indigo to white lead, with a very little black.

Sky Blue—This may be produced by simply adding first-class Prussian blue to white.

Slate—This color may be obtained in the richest hue (if such it can be called) by mixing white lead, ultramarine blue, raw umber, with a small quantity of lampblack.

Snuff Color—Add burnt umber to yellow ocher, and tinge with very little Venetian red; or mix together four parts of medium chrome and two of burnt umber Spruce Yellow—Mix together French ocher and white lead, and add a very little Venetian red.

Stone Color—Mix together five parts of white, two of medium chrome yellow, and one of burnt umber. This will give a medium yel low drab; lighter or darker shades in great vari ety may be obtained by adding more or less of the yellow and umber.

Straw—Add white, Venetian red, and French ocher to medium chrome yellow as a base.

Tan—This color is simply made by mixing white lead and burnt sienna, and adding a very little lampblack.

Terra Cotta—Add Venetian red and white to French ocher as a base; or mix burnt umber and orange chrome yellow, lightening up with white, as may be necessary.

Turquoise Blue—Acid to white lead, cobalt blue and Paris green, or a little light chrome green.

Violet—Add pale Indian red to white in small proportions. A mixture of white, Prus sian blue, black, and vermilion will also give a violet.

Willow Green—Add medium chrome green to white, and add a little ivory black or burnt umber; or add five parts of white to two of verdigris.

Wine Color—Mix together carmine and ver milion, and add ultramarine and a very little ivory black.

Yellow Bronze—Mix together a medium shade of chrome yellow, French ocher, and a very little burnt umber.

Yellow Lake—Add Naples yellow and scar let lake to equal parts of umber and white. Glaze with yellow lake.