. The Coach-makers' illustrated hand-book. ullness of the ground colors. Theground colors also changing the original color of the carmine, the white will appearof pink tint. Naples yellow, a little darker pink, yellow ochre, raw sienna and burntsienna, yellowish red tints. The vermilion being of a bright red hue, and approach-ing nearest to the color of the carmine, would be made a trifle darker, and in turnwould rob the carmine of a portion of its color ; the two combined forming a brightrich tone of carmine, the light and dark browns would detract from the purity andbrilliancy of the carmine
. The Coach-makers' illustrated hand-book. ullness of the ground colors. Theground colors also changing the original color of the carmine, the white will appearof pink tint. Naples yellow, a little darker pink, yellow ochre, raw sienna and burntsienna, yellowish red tints. The vermilion being of a bright red hue, and approach-ing nearest to the color of the carmine, would be made a trifle darker, and in turnwould rob the carmine of a portion of its color ; the two combined forming a brightrich tone of carmine, the light and dark browns would detract from the purity andbrilliancy of the carmine, still giving very handsome colors. The greens would pro-duce nothing worthy of imitation for general use, but over black a deep rich tone ofcarmine would be produced. Black, however, being so dark, would require to becovered solidly to show the full efiect. When the carmine is dry, other transparent colors may be used in the same man-ner; verdigris, purple lake, yellow lake and asphaltum may be employed. But we PAINTING DEPARTMENT. 22«. will return to the ornament, and dismiss it with a few words. Having sized it in, andlaid the gold leaf, sponge and wipe the ornament dry. Shade the gold delicately withasphaltum, clear (or tinted with virdigris), and high light with a delicate pink (lightred and white). One stroke of the pencil should give the required light or shade onall the details. Mix up three tints of whatever color you decide to paint the innerpart, placing the brightest in the center, and the darker tints to the right and left;then with a dry pencil blend the edges of each, so as to efface the lines of dry, paint the center diamond, in imitation of the emerald (green) and thesmall circles in imitation of the ruby (deep red). A spot of white or pale green willfinish the emerald; and a spot of vermilion on each of the circles will complete therubies. The barred work on the upper part should be of a gray or purple tint. Shield and Monogram.—A Norman shiel
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Keywords: ., bookcentury1800, bookdecade1870, booksubjectcarriag, bookyear1875
