Page:Cyclopedia of Painting-Armstrong, George D (1908).djvu/89

Rh blue. Add either a little burnt sienna if a warm neutral is required, or a little black if one cool in appearance is desired.

Nile Blue. Mix a little white with Prussian blue and chrome green, using rather less of the latter than the former. The result is a pale greenish blue.

Normandy Blue. To get this greenish blue shade mix green and blue in about equal proportions with white.

Oriental Blue. One part of lemon chrome yellow, two parts of Prussian blue and twenty parts of white lead.

Peacock Blue. This color is one upon which opinion varies considerably. A splendid color is made by taking cobalt as a base and adding a little white and a little Chinese blue.

Perfect Blue. Some manufacturers produce this beautifully rich color. It is very like cobalt, but slightly darker.

Pompeian Blue. This is made by tinting white with ultramarine and adding a little vermilion and Italian ochre.

Porcelain Blue. To get this shade mix one part of zinc white and chrome green with four parts of ultramarine blue and a touch of black.

Prussian Blue. This color is certainly the most important blue the painter has. It cannot be imitated. It works well in both water and oil, and is transparent. It is very strong and care must be exercised in using it lest too great a quantity is added to a batch of paint, which might be spoilt in consequence.

Quaker Blue. Add a little black to Prussian blue, and lighten up with white.

Robin's Egg Blue. Use white for base, tint with ultramarine until a fairly strong blue is obtained, and then tinge with a little lemon chrome green.

Royal Blue. This is made by adding a little white to Prussian blue with a touch of crimson lake. Some manufacturers make a very rich blue, which they sell under the name of Royal blue.