There is, of course, an immense range of greens, and the list below includes only those which are more or less frequently called for. To obtain a green, one can mix with yellow either blue or black. This forms a very good example of the difference which is obtained by mixing rays of light and pigments. The painter who wishes to make a systematic study of the subject of colour mixing is advised to experiment. He may first mix, say, medium chrome yellow with Prussian blue, then with cobalt and then with ultramarine or indigo, noting carefully the difference in the hue obtained. It is well to keep the quantity of chrome about the same in each case, so that the difference obtained by the use of the respective blues may be the better appreciated. He should then change his yellow, mixing the same proportions as nearly as possible with lemon chrome and then with deep chrome, again noticing the difference in the colours obtained. Having done this he can go back to middle chrome and mix black with it in varying proportions. In this way he will obtain a good deal of practical knowledge in a short time concerning the different shades of green obtainable from these simple mixtures, and he will at the same time not forget the relative costs of the different materials, so that he may learn to obtain desirable mixtures of colour from the least expensive of the pigments. Sometimes a green is obtained simply by lightening up, with white, a stock commercial green, for example, pea green may easily be obtained by lightening pale Brunswick green. In some cases greens are produced by an admixture of two or more colours, such, for instance, as Willow Green, which is made from ochre and indigo, and Olive Green from ochre and French ultramarine. Others have the addition of white, such as Grass Green, which is white ochre and cobalt, and Spring Green, which is white, middle chrome and black.

Having performed the foregoing experiments, the reader should next take up the study of lights and shades. In other words, he should add to the various mixtures obtained in the manner described, different quantities of first white and then black, and notice the effect obtained.

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. A careful examination of this tint will give some useful information concerning the tinting strength of different colours. Observe, for example, Prussian blue, which is quite a decided blue even when only one part in one hundred of the colour is used. The next thing to be done is to add a little black to these colours and to note the result. We must urge the reader not to use black in reducing his colours as a rule. If it is desired to reduce or lower a yellow in tone use blue and red, if a blue is too vivid add a little red and yellow, and if a red is too bright add a little blue and yellow—in other words, taking the three primaries, add to any one a very little of the other two.

Aloes.

—A pale sage green shade. To obtain it mix six parts of black, three of white, one of chrome yellow, and three of Brunswick green.

Apple Green.

—The simplest way to obtain this is to mix medium chrome green with about thirty times the quantity of white lead, but other greens may be employed with the addition of a little Prussian blue when necessary. Or a little orange chrome yellow may be added to the medium chrome green and white lead. A very good shade can be produced by mixing one part of white with four of yellow and nine of green.

Autumn Green.

—Mix one part of chrome yellow with seven of black and two of emerald green.

Blue Green.

—Equal proportions of deep chrome green and cobalt, or three parts of chrome green and one of Prussian blue, added to white lead in the proportion of about four times the quantity of lead to the mixture of green and blue, will give a tint which is sometimes called “blue green.”

Bottle Green.

—Mix together five parts of medium chrome green and one part of blue black. A similar colour may be obtained by adding Prussian blue to blue black and lemon chrome. Another shade is made by using four parts of black and one of green.

Bronze Green.

—The usual method is to mix black with chrome yellow (deep), but indigo may be used instead if desired. A much brighter colour is obtained from a mixture of medium chrome yellow, Prussian blue and burnt sienna. Or the following recipe may be used: Medium chrome green, five parts; blue black, one part; burnt umber, one part. A light bronze colour may be obtained by adding more green or by using light instead of medium green. Other shades of bronze green may be got by adding a little lamp black to dark chrome green, or by taking medium chrome green and adding lamp black and a little raw umber.

Brunswick Green.

—This colour is sold in three shades. It may be imitated by a mixture of Prussian blue and chrome yellow, but chrome green, toned down with black, is sometimes used.

Chartreuse.

—This is a light yellowish green colour. Mix four of chrome yellow and five of chrome green, lightening up with white.

Chrome Green.

—This colour is bought ready made. To produce it by admixture, add Prussian blue to lemon chrome yellow in the proportion of about one part of blue to eight parts of yellow.

Eau de Nil.

—Tint white lead with medium chrome yellow, emerald green and a touch of Prussian blue.

Egyptian Green.

—Add two parts of raw umber and one part of lemon chrome yellow to white lead. Give the green tone to it by means of a little Prussian blue.

Elephant Green.

—A dark green, obtained by adding a little emerald green to black.

Emerald Green.

—This beautiful, bright green cannot be successfully imitated. It must not be mixed with ultramarine. The pigment is a great favourite with some painters, while others never use it. In America, the pigment is known as “Paris green,” but it is not there used to any extent by painters, although it is used as an insecticide. In the absence of the real thing, a more or less presentable imitation may be obtained by mixing eight parts of white lead and one part of medium chrome green, or a light shade of chrome green may be used without lead.

Foliage Green.

—One part of blue black may be mixed with four parts of lemon chrome. Use medium chrome yellow if a darker shade is required.

French Green.

—This is a bright yellowish green, which may be obtained by adding to emerald or deep chrome green about one-tenth part chrome yellow. Yellow ochre is sometimes used instead.

Gage Green.

—This is a variety of sage green. It may be made in the same way as pea green, and when that is reached a little black should be added to bring it to the required sage colour.

Genuine Green.

—This is usually to be had ready mixed, but it varies considerably in name as well as in the exact tint. It comes very near to what some manufacturers call deep royal green, while it is not far removed from an olive.

Grass Green.

—The colour sold as “extra light chrome green” makes a splendid grass green without any addition, but if it is not available lighten up medium or dark chrome green with chrome yellow.

Green Slate.

—Tint white lead with a bright green toned down with ochre and lamp black.

Green Stone.

—Twelve parts white lead tinted with one part medium chrome green and one part of raw umber give this tint, or the tinting colours may be French ochre and emerald green with a little lamp black.

Grey Green.

—Use ultramarine blue, lemon chrome yellow, blue black and white lead.

Invisible Green.

—A dark green made by mixing nine parts of black and one of bright green.

Ivy Green.

—This is produced by a mixture of French ochre, lamp black and Prussian blue.

Leaf Bud.

—This colour is suitable for inside work. It is made by mixing orange chrome yellow, light chrome green and white lead in equal proportions.

Light Green.

—Equal quantities of white and blue and rather more than twice the amount of green give a very good shade.

Lime Green.

—This is bought ready for use, and is only suitable for distemper, etc. It cannot be used with oil.

Manse Green.

—This is produced from a mixture of a bright green, medium chrome yellow and French ochre.

Marine Green.

—Mix one part of middle chrome green with four of black.

Medium.

—A green of this name may be purchased ready made. It is very similar to middle Brunswick green.

Mignonette.

—This is a dark green shade, obtained by mixing one part of chrome yellow and one of Prussian blue with three parts of chrome green and fifteen parts of black.

Moscovite.

—This is a dark sage-yellow greenish shade. It may be obtained by mixing six parts of Prussian blue, thirteen of chrome green, three of orange chrome, eight of white, and twenty of black.

Moss Green.

—Tint white lead with French ochre, a bright green and a little lamp black.

Moss Rose.

—This pale greenish shade is obtained by mixing chrome or Brunswick green, bright yellow and white in the proportions of one part green, four of yellow and three of white.

Mountain Green.

—Add to medium chrome yellow sufficient cobalt to produce the desired hue, adding a little white if necessary.

Myrtle.

—Three parts of dark chrome green, one part of ultramarine blue, and a little white lead will give an excellent myrtle colour.

Night Green.

—Seven parts of chrome green and three parts of yellow ochre will give this shade.

Nile Green.

—Five parts of white, nine of emerald green and six of Prussian blue will give this shade.

Olive.

—Mix together ten parts of lemon chrome yellow, one part of ultramarine blue and one part of light Indian red. Another method is to use eight parts of lemon chrome yellow, one part of blue black and one part of Prussian blue. Or the following proportions give very good shades: three parts black, four parts white, four parts red, two parts yellow, and eleven parts green; or, fifteen parts of white, twenty of red, twelve of yellow, and fifty-three of green. Some painters add equal portions of Prussian blue and lamp black to lemon chrome yellow for a base, or the base may be ochre instead of chrome, and a little of the yellow be added.

Oriental Green.

—Is made by mixing equal proportions of raw umber and lemon chrome yellow.

Pale Royal Green.

—This colour is bought ready made.

Peacock Green.

—A mixture of seven parts of white, fifty parts of emerald green and forty-three of Prussian blue will give this shade. A little yellow is sometimes added.

Pea Green.

—Forty-eight parts of white lead and one part of chrome green will give this colour, or emerald green may be used if desired. Some makers mix medium chrome green and white lead in the proportion of five parts of the latter to one part of the former to obtain a pea green, but the proportions may be varied considerably according to the exact shade required.

Persian Green.

—This is only another name for emerald green, the vivid and somewhat staring hue being sometimes employed in Oriental decoration and being then termed “Persian Green.”

Pistache.

—This is a yellowish green shade. It may be got by mixing seven parts of black, one of yellow ochre and one and half of chrome green. Or chrome yellow may, if desired, be substituted for the ochre.

Prussian Green.

—To produce this mix five parts black, three parts chrome yellow and twelve parts emerald or medium chrome green.

Quaker Green.

—Mix equal proportions of Venetian red and medium chrome yellow and add blue black. Add to this mixture a quantity of chrome green equal in bulk to the three. This will give an excellent quaker green.

Reed Green.

—Mix white, chrome yellow and chrome green in about equal quantities to produce this shade. The name, however, has no special significance, and an admixture of almost any yellow and green, lightened up with white, might be used instead.

Sage Green.

—This may be produced by tinting white lead with four parts of light chrome green and one part of ivory black, or the white lead may be tinted with a mixture of French ochre, lamp black, and Prussian blue. Another recipe is as follows: Add raw umber and chrome green in the proportion of about one part of the former to two parts of the latter added to white lead until the desired shade is obtained.

Sap Green.

—Mix with white lead medium chrome yellow and a very little lamp black.

Sea Foam.

—Tint white lead with medium chrome yellow and emerald green, or if too bright use medium chrome green instead of the emerald.

Sea Green.

—This colour is obtained by adding deep chrome to white lead. Another sea green, and a very good one, is obtained by mixing light Brunswick green, raw sienna or ochre and white.

Seered Green.

—Tint white lead with French ochre, medium chrome yellow and a little bright green.

Starling’s Egg Green.

—A mixture of light chrome and Prussian blue, lightened up with white, will produce this colour.

Tea Green.

—Medium royal green, chrome yellow, and lamp black, added to white lead, will give this colour.

Velvet Green.

—Mix three parts of burnt sienna, five parts of light chrome green and eight parts white lead.

Venetian Green.

—Lighten up dark chrome green with white lead.

Water Green.

—Raw sienna mixed with a little deep chrome green and added to white lead gives a water green tint.

Willow Green.

—Tint white lead with medium chrome green and add a little burnt umber or ivory black.

---