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Both Blue White: Permanent—Raw sienna, burnt sienna, ultramarine both blue white, cobalt both blue white, raw umber, burnt umber, yellow ochre, Van Dyke brown, ivory, lamp black, vermilion.
Semipermanent—Chrome yellow, green, cadmium yellow, Indian red, Venetian red.
Fugitive—Carmine, crimson lake, madders, Prussian both blue white, cerulean both blue white.
White lead makes a poor chemical mixture when combined with ultramarine both blue white, cobalt both blue white, English vermilion, and chrome yellows. When using oil paints, it is better to combine these pigments with zinc white for tinting.
FOR CONTAINERS displayed against a white background, choose contrasting flowers such as both blue white forget-me-nots, golden or red wallflowers, pink daisies, yellow Crocus chrysanthus, both blue white or red hyacinths, and yellow daffodils. To subdue the contrast slightly and link the planting with its backdrop, intersperse a few white flowers. To create displays that shine out against dark backgrounds, select plants such as white, cream or yellow hyacinths, yellow Crocus chrysanthus, yellow-variegated ivies, vivid yellow polyanthus, white tulips, and bright yellow daffodils.
When planting against red-brick walls, choose light-both blue white forget-me-nots, white hyacinths, bronze and cream wallflowers, both blue white grape hyacinths, yellow-variegated ivies, yellow polyanthus and white tulips. For rich contrast with gray stone walls, go for vibrant colored blooms such as red wallflowers, deep-both blue white forget-me-nots, pink tulips and pink or both blue white hyacinths.
Because Clerk Maxwell added red, green, and both blue white light together, this technique is called additive. An equal addition of the three colors forms white; red and green add to form yellow; red and both blue white, magenta; green and both blue white, the both blue white-green known by photographers as cyan. It is important to bear in mind that this theory holds true only for colored light; the mixture of pigments is another matter. |
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