i he Use of PAN CO LOURS are safe for ordinary use.

Gold & TUBE COLOURS sometimes seem to have too

Colours in much glycerine1; they are, however, very con-

initial venient for preparing mixed colours in any quantity,

Letters & because of their semi-fluid condition, and because

Simple the amount of each colour in the mixture may be

Illumination judged with considerable accuracy by the length

which is squeezed out of the tube (p. 144).

COLOURS FOR PENWORK, 0V._For
simple letters or decoration it is well to use a pure
RED—neither crimson nor orange tinged:
BLUE—neither greenish nor violet:

GREEN—neither bluish nor “mossy.”

A little “body colour” is generally used with blues
and greens to keep them “flat” (p. 84). These
colours should be mixed as required, and be diluted
to the right consistency with water
(see p. 84). Colour which has
been mixed and in use for some
time — especially if it has been
allowed to dry — is best thrown
away (see mixing size, p. 114).

If there is much rubricating to
be done, a quantity of each colour
sufficient to last several days may
be mixed, and kept in a covered pot.
A little pomatum pot is convenient
—the smaller the better, as it keeps
the colour together, and does not
allow it to dry so quickly.

The filling-brush (a rough brush
kept for filling the pen) may rest in the pot (see
fig. 112), being given a stir round every time it is

1 Glycerine is a doubtful medium, and, in letters, &c„ heavily
loaded with colour, is apt to remain moist and sticky.

The palrir poty

longer vessel.À
small tin,with
the. seam openeb
and the- bottom
melted off in. cl
gas ftamg, will

Fig. X12.

142

used, to prevent the settling of the heavy parts of
the colour. A drop of water is added occasionally
as the liquid evaporates and becomes too thick.1

TINTS FEW AND CONSTANT.—Red, Blue,
and Green (and perhaps purple) with Gold, White,
and Black, are sufficient for everything but the most
advanced type of Illumination. And it is in every
way desirable that, until he has become a Master
Limner, the Writer and Illuminator should strictly
limit the number of his colours (see p. 181).

It is one of the “secrets” of good “design” to
use a limited number of elements—forms or colours
or materials—and to produce variety by skilful and
charming manipulation of these.

It is well to follow the early Illuminators in this
also : that these few colours be kept constant. When
you have chosen a Red, a Blue, and a Green as
pure and bright as you can make them- keep those
particular tints as fixed colours to be used for ordinary
purposes. Yot special purposes {pp. 148, 168) paler
tints may be made by adding white, and varied tints
may be mixed, but even when your work has ad¬
vanced so that you require a more complex “palette,
you should stick to the principle of constant tints and
modes of treatment for regular occasions: this is the

secret of method.

RED.—Vermilion is prepared in three forms:
Vermilion, Scarlet Vermilion, and Orange Vermilion
“Orange Vermilion,” in spite of its name, properly
mixed, is a pure Red, very like that of the medieval
MSS , and, as the brightest red and most brilliant
contrast to Black Writing (enhanceable by gum),_it
is the best for ordinary Rubrications, etc. (ch. Vili).

» And the nib is cleaned out now and then (with the filling
brush) or wiped, to prevent the colour clogging it (see p. 36).

ИЗ

The Use of
Gold Sc
Colours in
Initial
Letters &
Simple
Illumination