Tintype

“ Beauty consists in a certain variety which some tints possess in a higher degree than others. The yellow, for example, and the red of the spectrum have a tone peculiar to themselves: the golden contains the essence of the red and the yellow, and is more agreeable to the eye than either.
The most beautiful tints in the scale commence at the orange colours 22 and 23, and continue to the end. ”

“ Tintoret had modelled his colouring upon Titian and was by nature a great colourist, but too often he used bad materials that have turned black with the lapse of years. In this picture you see his colour as it was meant to be, rich, and boldly harmonious. The vivid red and blue of the princess's clothes are a daring combination with the brilliant green of the landscape, but Tintoret knew what he was doing, and the result is superb. ”

“ The faithful fellow at once set to work to make me a tin head, and he had just completed it when Nimmie Amee came running up with my old head, which she had stolen from the Witch. But, on reflection, I considered the tin head far superior to the meat one—I am wearing it yet, so you can see its beauty and grace of outline—and the girl agreed with me that a man all made of tin was far more perfect than one formed of different materials. ”

“ Persons seeing this illusion for the first time are always much astonished. Here we have an experiment showing that the contrast produced by strong saturated tints is much feebler than with tints which are pale or mixed with white light, for, by placing tissue-paper over the green sheet, the color of the latter is extraordinarily weakened and mixed with a large quantity of white light. In this experiment it often happens that the red, which is due to contrast alone, seems actually stronger than the green ground itself. ”

“ The test of painting over squares of black and white may be varied by using stripes instead. The test answers equally well for white lead, zinc, lithopone, or any colour of which the quality of body is of importance. In some colours it is of little moment.
Tinting or Staining Strength. —We have already explained at length how greatly the tinting strength of different colours or stains varies. Any painter can test the tinting strength of any [65] colour himself in a very simple manner. ”

“ If you look at those reproductions of some of the most valuable fresco paintings of the old masters, you will see the method adopted by them depended upon the juxtaposition of tints, not upon covering over, and over, and over again. That juxtaposition of tints produces roundness, transparency, and has a very pleasing effect upon the eye. If two tints are put against one another, they do not appear to us as if they were single, but each adds something to the effect of the other, and together they produce a pleasurable and agreeable effect, if they have been properly selected. ”

“ Some colours are very much stronger for tinting purposes than others. For example, a Prussian blue will go a long way and a very little is sufficient to colour a considerable quantity of white lead. In the plates we show pure Turkey umber, French ochre, raw Italian sienna, orange chrome yellow, Prussian blue, medium chrome yellow, etc. Each of these is also shown when mixed with twenty-five parts of zinc and one hundred parts of zinc respectively. The object of using the zinc instead of white lead is to obtain a purer tint, the white being much whiter than white lead. ”

“ TINTING In tinting china, the best results are always obtained by using freshly mixed colors. They work more easily and smoothly. A broad tinting brush or square shader should be used for this work—one color or a combination of colors may produce a tint. Apply the color as smoothly as possible, but if it is found to be not quite even, pad it with a cloth or pad. Some colors contain more grit than others—and are more difficult to pad. In applying such colors as yellow-brown, brown-green, apple-green, dark pompadour and pink, it is necessary to dampen the pad with mixing oil. ”

“ TIN (Etain, Fr.; Zinn, Germ.) ; in its pure state, has nearly the colour and lustre of silver. In hardness it is intermediate between gold and lead; it is very malleable, and may be laminated into foil less than the thousandth of an inch in thickness; it has an unpleasant taste, and exhales on friction a peculiar odour; it is flexible in rods or straps of considerable strength, and emits in the act of bending a crackling sound, as if sandy particles were intermixed, called the creaking of tin. A small quantity of lead, or other metal, deprives it of this characteristic quality. ”

“ Great care must be taken in mixing tints, for some colors, such as Prussian blue, are so strong that a very little of them will produce the desired effect, and thus, if they are used without consideration, it becomes necessary to add more and more white, a greater quantity of the tint required is compounded, and waste results. ”

“ The tints thus developed sometimes pass through many orders of brilliant colours, particularly pink and green, and settle in a bronze, and sometimes a black tint, resting upon the inscription alone. In some cases the tint left on the trace of the letters is so very faint that it can just be seen, and may be entirely removed by a slight rub of the finger.
When the experiment is often repeated with the same coin, and the oxidations successively removed after each experiment, the [pg 192] film of oxide continues to diminish, and at last ceases to make its appearance. ”

“ Now a Prussian blue can be bought for, say, 1s. 3d. a pound, but it would probably consist of at least one half of barytes or some other adulterant, which is of no value whatever as a tinter. If this colour is half strength it is obvious that two pounds of it would be required to tint the white for the work in hand, and this would cost 2s. 6d., against 2s. for the better class colour. This homely example should be taken to heart by every painter. He has only to experiment to find out that it never pays to use inferior tinting colours. ”

“ The sun's own light shows under this method of spectroscopic analysis millions of tints, in fact I might say millions of red tints, and so forth, right through the spectral list of colours. But also many thousands of tints are wanting. Imagine a rainbow-coloured ribbon, the colours ranged along its length, so that the ribbon is black at both ends, and that from the black of one end the colour merges into very deep red, and thence by insensible gradations through orange, yellow, green, blue, indigo, and violet, into the black of the other end. ”

“ If, in applying a color or a tint, the color dries before the whole surface is colored, the color will not be of an equal shade; hence it is necessary before applying the color to dampen the surface, if it is a large one, so that the color at one part shall not get dry before there has been time to go over the whole surface; a more even depth of color is attained by the application of several coats of a light tint, than with one coat, giving the full depth of color. ”

“ Experience here is the only guide, as the light varies as well as the density of the negative and the sensitiveness of the tissue. If one does not have an actinometer, a slip of albumen paper may be used; as soon as the paper has reached the darkest point, which is then called one tint, extend it so that a fresh portion comes out to the light, and so on for the different tints. ”

“ Observe also that there are very few things which are totally without luster; you will frequently find a light which puzzles you, on some apparently dull surface, to be the dim image of another object.
63. And now, as soon as you can conscientiously assure me that with the point of the pen or pencil you can lay on any form and shade you like, I give you leave to use the brush with one color,—sepia, or blue black, or mixed cobalt and blue black, or neutral tint; and this will much facilitate your study, and refresh you. But, preliminary, you must do one or two more exercises in tinting. ”

“ Tin in fire departeth metals of divers kind, and it departeth lead and brass from gold and silver, and defendeth other metals in hot fire. And though brass and iron be most hard in kind, yet if they be in strong fire without tin, they burn and waste away. If brazen vessels be tinned, the tin abateth the venom of rust, and amendeth the savour. Also mirrors be tempered with tin, and white colour that is called Ceruse is made of tin, as it is made of lead. Aristotle saith that tin is compounded of good quicksilver and of evil brimstone. ”

“ Again, the mere contrast of dark or dull tints enhances the color and luminosity of those that are bright, and the observer receives the impression that he is gazing at a mass of gay and beautiful coloring, scarcely noticing the presence of the much larger quantity of tints that are darkened by being in deep shade. ”

“ I am satisfied that I myself until recently employed more tin than was well. I now use from one-tenth to one-twelfth as much tin as gold, and no disintegration or dissolving away of [76] the tin ever occurs. I fold the two metals together in the usual way of folding gold to form strips, the tin being placed inside the gold. The addition of the tin makes the gold tougher, so that it works more like tin foil. The packing can be done with more ease and certainty; the filling, with the same effort, will be harder, and the edges or margins are stronger and more perfect. ”

“ 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. ”

“ To produce pure and permanent compound hues requires practice and knowledge, and we too often see in the works of painters combinations neither pleasing nor stable. Colours are associated with each other which do not mix kindly, and compounds formed of which one or both constituents are fugitive. As a consequence, mixed tints are frequently wanting in clearness, and, where they do not disappear altogether, resolve themselves into some primary colour; orange becoming red by a fading of the yellow, green yellow by a fading of the blue, and purple blue by a fading of the red. ”

“ By using about a sixteenth of tin, the color of the gold is so neutralized that the filling is far less conspicuous than when it is all gold, and I very often use such a proportion of tin in cavities on the labial surfaces of the front teeth. ”

“ A shade is secured by adding black. Between the full strength of the dye and white, however, lies the range of tints most easily used. Refer to the Color Chart for the complements of the tints and shades. These vary in the case of crimson, for instance, from deep crimson through rose to the palest pink tints. Each decided color step in this scale gives related tints that may safely be combined. If they are not far removed from each other in intensity, they give very little contrast, but may be at the same time a very pleasing combination. ”

“ For the preparation of chemically pure tin two methods are employed. (1) Commercially pure tin is treated with nitric acid, which converts the tin proper into an insoluble hydrate of SnO 2 , while the copper, iron, &c., become nitrates ; the oxide is washed first with dilute nitric acid, then with water, and is lastly dried and reduced by fusion with black flux or cyanide of potassium. (2) A solution of pure stannous chloride in very dilute hydrochloric acid is reduced with a galvanic current. According to Stolba, beautiful crystals of pure tin can be obtained as follows. ”

“ Soot scraped from the bottoms of kettles, the juices of herbs having a green, yellow, and above all, a vermilion tint, rendered adhesive by combination with oil and grease, are lavishly employed to adorn his person—or, according to our idea, to render it hideous. Black and red, alternating with stripes, are the favourite tints. Some blacken the face, leaving in the middle a red circle, including the upper lip and tip of the nose; others have a red spot on each ear, or one eye black and the other of a red colour. ”

“ Wiclif.
Tinsel. This (the Old French ‘estincelle,’ a spark) is always now cheap finery, flashing like silver and gold, but at the same time pretending a value and a richness which it does not really possess. There lay no such insinuation of pretentious splendour in its earlier uses. A valuable note in Keightley’s Milton, vol. i. p. 126, makes it, I think, clear that by ‘tinsel’ was commonly meant ‘a silver texture, less dense and stout than cloth of silver;’ yet not always, for see my first quotation. ”

“ In composing any new tint it will be well to leave out fullers-earth, pipe-clay, chalk, and other calcarious matters13 which are generally used in the common way; the former—to bind the [Pg 109] looser colours; the latter—to keep up the flake-white and white-lead, which otherwise would turn black; in encaustic those matters are wanted for none of the above ends; flake-white and white-lead will not change, and both together will make a body sufficiently connected to bind the lighter tints.
All colours used in oil and mentioned in the foregoing list, are good for crayons, and no others. ”