ZINC WHITE. (LEAD WHITE ENOUGH SO.) CADMIUM YELLOW. CADMIUM ORANGE. CADMIUM YELLOW, PALE. STRONTIAN YELLOW. YELLOW OCHRE. ROMAN OCHRE. TRANSPARENT GOLD OCHRE. RAW SIENNA. BURNT SIENNA. RAW UMBER. AUREOLIN. CHINESE VERMILION. SCARLET VERMILION. ORANGE VERMILION. LIGHT RED. ROSE MADDER. PINK MADDER. PURPLE MADDER. MADDER CARMINE. RUBENS MADDER. ULTRAMARINE BLUE BRILLIANT. ULTRAMARINE BLUE FRENCH. PERMANENT BLUE. COBALT. CERULEAN BLUE. IVORY BLACK. BLUE BLACK. VERIDIAN. EMERALD GREEN. TERRE VERTE.
Here is a list of colors which will work well together, and with which you can do as much as is possible with colors as far as our present materials go.
Most of these colors, I am aware, are among the more expensive ones. This I am sorry for, but cannot help. The good colors are at times the expensive ones, but as there are no cheaper ones which are permanent to take their places, it would be the falsest of economy to use others.
=Palette Principles.=--In making up your palette, you must so arrange it that you can get pure color when you want it. There is never any trouble to get the color negative; to get richness and balance is another matter. If you will refer to the color plates, you will see that in each of the three primary colors there are pigments which lean towards one or the other of the other two. The scarlet red is a yellow red. The Chinese vermilion and the rose madder are blue reds. The same holds with yellows and blues, as orange cadmium is a red yellow, and strontian yellow is a greenish yellow. This is, in practice, of the utmost importance in the absence of the ideal color, for when we deal with the practical side of pigment, we deal with very imperfect materials which will not follow in the lines of the scientific theory of color. If we would have the purest and richest secondary color, we must take two primaries, each of which partakes of the quality of the other. To make a pure orange, for instance, we must use a yellow red and a red yellow. If we used a bluish red and a bluish (greenish) yellow, the blue in both would give us a sort of tertiary in the form of a negative secondary instead of the pure rich orange we wanted. This latter fact is quite as useful in keeping colors gray without too much mixing when we want them so, but nevertheless we must know how to get pure color also.