Category: Color

“A good, quiet, general tint may be obtained by mixing Dutch Pink with black, Prussian blue, or blue verditer”

“Light ochre with green lake or emerald green gives a rich green and may be changed into cool green by adding Prussian blue or indigo.” (Frank Atkinson, Scene Painting and Bulletin Art, 1916, page 165)

“French Ultramarine: extremely powerful and semi-transparent; the accepted substitute for the more expensive genuine ultramarine; indispensable, permanent; non-poisonous.”

(Frank Atkinson’s “Scene Painting and Bulletin Art,” 1916, page 20)

 

“Lemon Yellow: a beautiful, light, vivid color; in body and opacity nearly equal to Naples Yellow, but much purer and more lucid in color and tint, and at the same time not liable to change by damp, sulphurous, or impure air, or by the action of light, or by steel palette knife, or by mixture with white lead, zinc, or other pigments; this makes it a valuable addition to the palette.  It is principally adapted to high lights and produces agreeable effects when glazed over green.”

From ScenePainting and Bulletin Art by Frank Atkinson, 1916, page 18

 

“Non-poisonous colors are colors which work agreeably in all admixtures with other colors, with true affinity.

Yellow Ochre: ‘King of the Palette’; good everywhere that one may chose to use it; it is indispensable in ‘carnations’ of flesh tints; absolutely non-poisonous; can be mixed with any color on the palette; quite opaque; permanent; dries fast.”

Excerpt from Frank Atkinson’s Scene Painting and Bulletin Art (1916, page 16-18)

“A permanent color is a color that retains the hue recorded at the time of painting.  Among the permanent colors are a number that intensify or deepen the value and quality.  This is due, not so much to their chemical composition as to the action of the oil used in the reduction, which has a tendency to deepen.” Excerpt from Frank Atkinson, Scene Painting and Bulletin Art (1915, page 16)

Vandyke Brown: (bituminous earth) a rich, transparent pigment; permanent; slow drier.

 

“The most essential thing to know about color is whether it is fugitive or permanent, poisonous or non-poisonous.  A fugitive color is one that fades or diminishes from the hue recorded at the time of painting, after exposure to light, either in a long or short duration of time.  Fugitive color should be avoided if the work is desired for permanent exhibition, but can be used indiscriminately if the work is of a temporary nature, or for reproduction.”  Excerpt by Frank Atkinson in Scene Painting and Bulletin Art (1916, page 16)

Scottish Rite Scenery Collections were intended as works of a “temporary nature.”  Scenic artists selected many colors for their vibrancy, not their permanency.  These large-scale artworks were never intended as part of a permanent collection.  All of the painted collections that I have restored over the years show signs of fading and the proof is what remained hidden under sandwich battens. When the battens at the top and bottom of each drop are removed, brilliant colors reappear and show their original vibrancy.

There is very little posted online in regard to contemporary uses for dry pigment in the theatre or for replicating historic compositions for the stage.  Old books, manuscripts, and other articles cover certain studio techniques that have been frozen in time – often in a ragged publication. Lost words from forgotten artists describe painting techniques and color palettes. These artists warn of fugitive or poisonous colors and proclaim the various color kings on the palette.  I have decided to start an online journey and dialogue with my fellow historians, passing along information for future generations of artists to decipher.  Please be patient as I figure out how to use an unfamiliar forum.  I just want to pass along a little information your way and keep the use of dry pigment for the theatre alive.