Blending

“ Nature never joins two contrasting-colors without a blending together and softening of the two tones where they touch each other. If it be red and brown, the red merges a little way into the brown, imperceptibly, perhaps, and the line of demarcation between the two is thus softened, and naturalized, if you please. Therefore, in your painting have no hard lines where your colors meet, but always blend adjoining colors together by passing a small brush over the line where they meet. ”

“ The question of color, as well as quality, also determines blending operations, natural colored wools being frequently intermixed to obtain particular shades for dress goods, tweeds, knitting yarns, etc. Stock dyed wools are also blended for the production of mixed colors, as browns, grays, Oxfords, etc. ”

“ The inevitable variety of tint and value, of definiteness and vagueness, gives a never-ending play of contrasts and blendings. These are qualities which go to the harmonizing of color, to the expression of light, and particularly to the feeling of atmosphere. This constant variety of contrasting edges is the constant movement and play of the visual rays, and the study of it gives life and vibration to the picture, and all the objects represented in it. ”

“ It is a serious mistake to imagine that the successful or profitable blending of tea consists solely of an indiscriminate or injudicious heaping together carelessly and indifferently of two or more varieties of tea in one homogeneous mass without the least regard to quantities, qualities, affinities, affiliations or assimilations of leaf, liquor, character or flavor of the component parts. ”

“ It must therefore follow that by the skillful and judicious mixing or blending of a number of Teas, each differing in variety or grade, a more uniform, pleasing and palatable Tea, that is, one richer in liquor, heavier in body and more aromatic in flavor, can be produced by this now acknowledged principle at a more moderate cost to dealer and consumer than can otherwise be obtained from any single variety or grade of Tea. ”

“ This rule applies to the mixing of pigments: The more perfect the mixing, the more perfect the product; perfect not only as regards its strength, permanence, and brilliancy of color, but perfect also as regards its working properties. ”

“ If half a dozen practical painters, experienced in colour mixing, were asked separately to mix a given colour, say a sea green, it is almost certain that when the six colours were compared there would not be two alike. ”

“ Every different texture has its own peculiar tint of ivory, cream, or snow to distinguish each from each, and from that other white of the rough cast walls. And, as if that were not enough, age and dirt lend their aid to the variety already produced by texture and quality. ”

“ We can blend the colours, and produce the effect of light and shadow, which they could not do, by harmonizing and mixing the colours in such a way, and fixing by proper enameling and burning, that they shall afterwards become just as permanent as those of the ancients, with the additional advantage of throwing in superior art. ”

“ I am beginning to say with conviction that color-schemes are the mark of a narrow and rigid taste—that they are born of convention and are meant not for living things but for wall-papers and portià ̈res and clothes. Moreover, I am really growing callous—or is it, rather, broad? Colors in my garden that would once have made my teeth ache now leave them feeling perfectly comfortable. I find myself looking with unmoved flesh—no creeps nor withdrawals—upon a bed of mixed magentas, scarlets, rose-pinks, and yellow-pinks. I even look with pleasure. ”

“ These six bright colours, when used in conjunction with black and white, with each other, or with their complementaries, will strengthen, intensify and enrich each other without altering their true value—when such vivid effects and sharp contrasts offend the taste of the worker, when they appear too crude, too conspicuous and too obtrusive—which they are apt to do—they may be harmonised quite simply, either by modifying the complementaries or by using a tint or a shade, that is, a lighter or a darker tone of the same colour. ”

“ Now, with this list of twenty or thirty pigments to select from, the question arises, naturally, as to the choice we shall make from them; for it is evident, I think, that even the most courageous amateur would hardly venture upon the whole gamut at one time. In the first place, it may be said that choice of palette is a matter of temperament. Each student must experiment with the various pigments and select those which he personally finds most sympathetic. ”

“ A new practical book by a color expert, for students, artists, dyers, decorators, show card writers, painters, printers, pressmen, etc., to assist them in mixing oil colors to obtain standard and popular hues in as permanent and practical manner as possible. Great thought has been given to the permanency of the resultant colors. It takes the guess work out of color mixing. ”

“ Their fashioning, obviously, can be made to teach principles of line, design and color. Is it not safe to say that no other modeling medium—edible or inedible—possesses this threefold recommendation? Fondant or paste can be colored by painting directly upon the finished surfaces, or the coloring matter can be worked into the mass. ”

“ You may melt your crimson into purple, your purple into blue and your blue into green, but you must not melt any of them into black. You should, however, try, as I said, to give preciousness to all your colours; and this especially by never using a grain more than will just do the work, and giving each hue the highest value by opposition. All fine colouring, like fine drawing, is delicate; and so delicate that if, at last, you see the colour you are putting on, you are putting on too much. ”

“ When you have got the whole well into shape, proceed to lay on the stains and spots with great care, quite as much as you gave to the forms. Very often, spots or bars of local colour do more to express form than even the light and shade, and they are always interesting as the means by which Nature carries light into her shadows, and shade into her lights, an art of which we shall have more to say hereafter, in speaking of composition. ”

“ If we desire to experiment on such a person, we must ask no names whatever, but simply place before him a number of similar objects differently coloured. Taking, for example, skeins of coloured wools, let us select a complete series of shades of tint, from red, through yellow, green, and blue, to violet, and request him to arrange them as well as he is able, placing the darkest shades first, and putting those tints together that are most like each other. ”

“ We know that the sensation of light or color, if not too weak or too violent, is in itself pleasing. The bright, the glittering, shining object, so long as it is not painful, is pleasantly stimulating. Gems, tinsel, lacquer, polish, testify to this taste, from the most primitive to the most civilized man. Color, too, if distinct, not over-bright, nor too much extended in field, is in itself pleasing. The single colors have been the object of comparatively little study. ”

“ Let us then, for distinction and pre-eminence sake, call class 4 of each colour, bloom tints, or if you please, virgin tints, as the painters call them; and once more [Pg 117] recollect, that in the disposition of colours as well as of forms, variety, simplicity, distinctness, intricacy, uniformity and quantity, direct in giving beauty to the colouring of the human frame, especially if we include the face, where uniformity and strong opposition of tints are required, as in the eyes and mouth, which call most for our attention. ”

“ The inexperienced workman thinks the color is well mixed, because he has, during mixing, lost sight of the particles of color, but when he comes to spread the wash on the wall, the dark specks emerge from their temporary cases, and, as they are dragged along by the brush, cause lines and streaks of more or less breadth, according to the number of particles which have been bound together. ”

“ The Palette.—You try to attain nature's effects of light with pigment. Pigment is less pure than light. You cannot have the same scale, the same range, but you must do the best you can, and the arrangement of your palette will help you. As you have not a perfect blue, a perfect red, and a perfect yellow, you must have two colors for one. ”

“ Complementary Colors.—A colored object shows a certain color by absorbing part of the light rays and reflecting part of the light rays. For instance, we know that light consists of the colors of the spectrum, red, green and violet. If an object is red, it absorbs the green and violet rays, and reflects only the red rays of light. Therefore, green blue which is a combination of green and violet is the complementary color to red or the shade which is absorbed by a red object. ”

“ If you have a good eye for colours, you will soon find out how constantly Nature puts purple and green together, purple and scarlet, green and blue, yellow and neutral grey, and the like; and how she strikes these colour-concords for general tones, and then works into them with innumerable subordinate ones; and you will gradually come to like what she does, and find out new and beautiful chords of colour in her work every day. If you enjoy them, depend upon it you will paint them to a certain point right: or, at least, if you do not enjoy them, you are certain to paint them wrong. ”

“ WHEN we contemplate the extraordinary diversity of colors offered to us by the numberless flowers and fruits, ranging through all possible gradations from the purest white to the most intense black, we can do no less than admire so surprising a wealth of color-shades, and are naturally prompted to imagine that chemical processes influence their tone and effect the manifold changes. ”

“ You will not, in Turner's largest oil pictures, perhaps six or seven feet long by four or five high, find one spot of color as large as a grain of wheat ungradated: and you will find in practice, that brilliancy of hue, and vigor of light, and even the aspect of transparency in shade, are essentially dependent on this character alone; hardness, coldness, and opacity resulting far more from equality of color than from nature of color. ”

“ In landscape we see nature employing broken colours in harmonious consonance and variety, while, equally true to picturesque relations, she uses also broken forms and figures, in conjoint harmony with colours; occasionally throwing into the composition a regular form, or a primary colour, for the sake of animation and contrast. And if we inspect her works more closely, we shall find that they have no uniform tints. ”

“ And now one word, dear sister-devotees of the needle, about embroidery. Do not imagine that shading in five or six shades of the same colour, which is the way that nine people out of ten work, is the true and natural one. This only produces a sad and wooden flower, without life or gladness, and conceived and worked amongst the shades of twilight. Take any flower and place it in the sunlight, and you will see in any purple flower, for instance, that there are not only different shades, but different colours—red, mauve, 16 blue, lavender, and violet. ”

“ Mix no more for the day than you mean to use; clean your palette every day or nearly so; work up all the colour each time you set your palette, and do not give way to that slovenly and idle practice that is sometimes seen, of leaving a crust of dry colour to collect, perhaps for days or weeks, round the edge of the mass on your palette, and then some day, when the spirit moves you, working this in with the rest, to imperil the safety of your painting. ”

“ It is my intention to confine myself to the discussion of colour, in as far as it belongs to the dyes of textiles and the materials for embroidery. I will adhere as closely as I can to this part of what is a great and most interesting subject—one which the science of to-day has opened out, and by the test of experiment, cleared of erroneous theories; revealing to us all its beauty and fitness for the use and delight of man. ”

“ The sin was not thine. Pledge me, noble Reginald. Thou standest in need of refreshment; for, in truth, thy look is weariness itself, and thou art as silent as the oaken board on which thou leanest. Come, come, the pigment is worth the tasting. ”

“ To Color Nonpareils or Comfits.—Put some of your comfits or nonpareils into the comfit-pan, shake or rub them about until warm, then add a sufficient quantity of prepared liquid color (see Colors) to give the desired tint; be careful not to make them too wet, nor of too dark a color, but rather light than otherwise; shake or rub them well about, that they may be colored equally; dry them a little over the fire, then put them in sieves, and finish drying them in the stove. ”

“ At first, it assumes a variety of colours, then exfoliates, and by working it, we perceive brilliant scales fall off; but when its decomposition is more advanced, it crumbles between the fingers, and is reduced into a very white fine talky powder. Art has even imitated nature in the decomposition of glass and flint. ”

“ That beautiful diffusion of æriel and fluctuating pearly reflections, that play equally over the surfaces of the strongest colours, shadows, and lights, in the tenderest hues and forms, and with which all nature appears invested, should engage our deepest attention and enquiry, as their properties so softly blend and break down the harshness and influence of positive colour, and the asperity of opposing tints, by tempering them with their airy and luminous sweetness. ”

“ He admires not the harmony of colouring alone, but examines by what artifice one colour is a foil to its neighbour. He looks close into the tints, examines of what colours they are composed, till he has formed clear and distinct ideas, and has learnt to see in what harmony and good colouring consists. ”