Literary notes about sienna (AI summary)
Throughout literature, sienna is frequently evoked as an evocative, earthy hue that captures the rustic warmth of nature and art alike. Authors describe landscapes and textures with phrases such as “sienna‐red” to imply the rust-like quality of plant life [1] and employ “burnt sienna” in detailed pigment recipes that lend depth to illustrations of foliage, shadows, and even architectural details [2, 3, 4]. The color appears both in its raw form—as a light, natural tone [5, 6]—and as a more intense, processed pigment that artists mix with blues, ochres, and umbers to enrich their palettes [7, 8, 9, 10]. Whether used to warm a composition or to provide contrast in nuanced gradations, sienna’s versatility is celebrated throughout literary descriptions and technical color mixtures alike [11, 12, 13], making it a persistent and vivid element in the depiction of artistic and natural beauty.
- The whole plant has a tendency to turn a sienna-red, or rust colour.
— from Mushroom Culture: Its Extension and Improvement by W. (William) Robinson - Block No. 2 was much more worn by the gritty nature of the burnt sienna used in its printing.
— from Wood-Block PrintingA Description of the Craft of Woodcutting and Colour Printing Based on the Japanese Practice by F. Morley (Frank Morley) Fletcher - Grass is washed with a mixture of burnt sienna, indigo, and gamboge; that in shadow has more indigo.
— from Young's Demonstrative Translation of Scientific Secrets Or, A Collection of Above 500 Useful Receipts on a Variety of Subjects by Daniel Young - These three colours with burnt sienna will produce almost every variety of sunny foliage.
— from Field's Chromatographyor Treatise on Colours and Pigments as Used by Artists by George Field - Its ground colour is light sienna, while that of the zebra is nearly white.
— from The Young Yagers: A Narrative of Hunting Adventures in Southern Africa by Mayne Reid - Cherry Ground.—One hundred parts white lead; 5 parts burnt sienna; 1 part raw sienna.
— from Henley's Twentieth Century Formulas, Recipes and Processes - Orange. —Burnt sienna, burnt ochre.
— from Paint & Colour Mixing A practical handbook for painters, decorators and all who have to mix colours, containing 72 samples of paint of various colours, including the principal graining grounds by Arthur Seymour Jennings - Then put on a thin glaze over it when dry made of raw and burnt sienna with enough whiting to make it rather transparent.
— from Graining and Marbling A Series of Practical Treatises on Material, Tools and Appliances Used; General Operations; Preparing Oil Graining Colors; Mixing; Rubbing; Applying Distemper Colors; Wiping Out; Penciling; The Use of Crayons; Review of Woods; The Graining of Oak, Ash, Cherry, Satinwood, Mahogany, Maple, Bird's Eye Maple, Sycamore, Walnut, Etc.; Marbling in All Shades. by F. (Frederick) Maire - —Tint white lead with French ochre and lamp black or sienna and lamp black.
— from Paint & Colour Mixing A practical handbook for painters, decorators and all who have to mix colours, containing 72 samples of paint of various colours, including the principal graining grounds by Arthur Seymour Jennings - —Two parts of Prussian blue, three parts of raw sienna, thirty parts white.
— from Paint & Colour Mixing A practical handbook for painters, decorators and all who have to mix colours, containing 72 samples of paint of various colours, including the principal graining grounds by Arthur Seymour Jennings - Another mixture is as follows: two [23] parts of burnt sienna, three parts of light ultramarine blue, sixty parts of zinc white.
— from Paint & Colour Mixing A practical handbook for painters, decorators and all who have to mix colours, containing 72 samples of paint of various colours, including the principal graining grounds by Arthur Seymour Jennings - Black sails are well represented by burnt Sienna, French blue, and brown madder; and red sails by light red or burnt Sienna with the brown.
— from Field's Chromatographyor Treatise on Colours and Pigments as Used by Artists by George Field - Mahogany.—Burnt sienna; burnt umber; and Vandyke brown.
— from Henley's Twentieth Century Formulas, Recipes and Processes
