THE TEACHER 
 
 OF 
 
 PAINTING 
 
 BY D. M .CAM FA N> 
 
 ' "nVK^^ 
 
 California; 
 
 Regional 
 Facility
 
 "a? 
 
 THE 
 
 TEACHER OF 
 
 FLOWERS and FRUIT 
 
 PAINTING 
 
 BY 
 
 D. M. CAMPANA 
 
 SECOND EDITION 
 
 vw- 
 
 Copyi-ighted 
 
 D. M. CAMPANA 
 
 Chicago, 111. 
 
 B 
 
 El
 
 N this book I will deal 
 on the topic of "Flower 
 and Fruit Painting," 
 and will endeavor to explain 
 as plainly as possible the best 
 method and Colors employed 
 by the very best artists in re- 
 producing flowers and fruit 
 with Water Colors, with Oil 
 Colors and China Colors. 
 
 I will deal in general, be- 
 cause the detailing of all 
 known fruit and flowers would 
 be an undertaking requiring 
 a number of books making the work very ex- 
 pensive and not easily purchased by people with 
 small means. Furthermore, not all flowers and 
 fruits are popular with the public, some being 
 painted more than others on account of their 
 more decorative shapes and colors and also be- 
 cause of their individual pleasing and delicate 
 appearance. 
 
 2051965
 
 It would of course be a useful task for our 
 reader to study nature in order to get better ac- 
 quainted with the subjects, their forms, their 
 movements, their colors and also the shapes and 
 colors of their leaves. 
 
 As I mention leaves, I must say, that every 
 flower or fruit must be given the proper shape 
 of leaf, as it would be very incongruous to see, 
 for instance -an apple with a grape leaf or 
 grapes with apple leaves. This is a mistake 
 very often found among decorators not having 
 had a sufficient training in nature; and this in- 
 sufficiency will always make the work inartistic 
 and poor. 
 
 If you will take my advice you will copy with 
 pencil, flowers and fruit from nature as much as 
 possible, as it would not be quite necessary to 
 begin copying them with colors. Pencil draw- 
 ing will be sufficient and will be the proper thing 
 to give you a general idea of the shape. 
 
 Take for instance, roses, of which there are so 
 many kinds and shapes, some having curly petals, 
 some having small and straight petals, some be- 
 ing closed in a bud-like shape and some wide 
 open. You will notice that if you come to paint 
 these roses, you should know at once the special 
 shape that you intend to reproduce, so that peo- 
 ple when looking at your decoration, will easily 
 know if the rose you painted is an American 
 Beauty, McKinley Rose or whatever kind you 
 may desire to call it. 
 
 If you have several good drawings made with 
 pencil, when you come to paint with color, you 
 will be more positive regarding the proper place 
 to put your touches and you will not tinker over
 
 and over with uncertain touches and poor hand- 
 ling. 
 
 A good many of my readers will object to giv- 
 ing the required time for the study of Drawing, 
 as they will claim, time is short, and they must 
 make a little money. 
 
 This reason, of course, is very strong, but if 
 you wish to learn a trade, you must be ready to 
 sacrifice some money just as when you are start- 
 ing into a new business. 
 
 The time that you spend will repay you a hun- 
 dred-fold and if you will take the time of learn- 
 ing how to draw, you will have the greater ad- 
 vantage of being able to paint quickly and better, 
 which, of course, will bring you a far better 
 financial return than if you had carelessly 
 neglected this important point, of drawing from 
 nature. 
 
 You should therefore begin properly and 
 should realize that it takes timie to do any kind 
 of work and that it takes still more time to do 
 that work properly. You can place some flowers 
 standing in a small vase with water, near the 
 window, so that the light will illuminate them 
 on one side only, take some drawing paper and a 
 pencil and begin to draw the flowers and leaves 
 as you see them in front of you, copying the 
 whole very carefully and as correctly as you 
 possibly can. 
 
 Draw the subjects with all details, show the 
 different petals, how they are attached to the 
 stems, how many leaves in the cluster and have 
 everything just like the model. 
 
 You can paint a flower or fruit with two or 
 three colors, and if the drawing is correct, you 
 will find the effect to be beautiful while on the
 
 contrary, if you have the most beautiful colors 
 and the drawing is incorrect, the decoration will 
 be positively inferior in quality. 
 
 When your drawing is correctly done in pencil, 
 you may apply the dark shadows seen between 
 the petals and these shadows will give the round- 
 ness to the flowers and give the proper relief. 
 
 I mentioned before that the light should come 
 only from one side, and this is of the utmost im- 
 portance, because in this way the light will illu- 
 minate the flowers on one side and on the op- 
 posite side it will be in the shadow. 
 
 Always follow this suggestion in everything 
 you paint and have light on one side and shadow 
 on the other because this will make it much 
 easier to give the right impression of the flower 
 and also because this is a general rule in all 
 paintings, that is, "light and shadows." 
 
 If you had copied such a flower in the open 
 air, and the light had come from all direction, 
 you would find it much more difficult to apply 
 the different shadows. 
 
 For this reason I would advise you always and 
 especially in the beginning to copy your subjects 
 indoors. 
 
 Of course, in suggesting rules for flowers, I 
 always include the same rules for fruits, as they 
 also are copied similarly to the flowers and they 
 are also placed in the same position and drawn 
 carefully with a pencil. You may undertake the 
 painting with colors, but be certain not to be too 
 anxious to start using the colors, because colors 
 are actually of secondary importance, when com- 
 pared with drawing. 
 
 In painting flowers I would call my reader's 
 attention to the lightness and easy movements of
 
 the flowers as compared to fruits. Flowers are 
 generally more decorative and they usually have 
 long stems, which can be twisted and moved 
 around considerably when being painted. 
 
 WATER COLOR PAINTING OIL PAINTING, 
 CHINA PAINTING THEIR DIFFERENT 
 TECHNICS AS COMPARED TO ONE ANOTHER 
 AND THE BEST METHOD OF REPRODUCING 
 NATURE WITH THESE THREE DIFFERENT 
 PIGMENTS 
 
 EADERS interested in learning Flower 
 and Fruit Painting in Water Colors will 
 find all matters pertaining to technic of 
 Water Color Painting individually ex- 
 plained in this book. If you desire to study the 
 technic of Oil Painting and its method, all pri- 
 mary rules will also be found in this booklet. 
 The method and technic of China Painting will 
 be found explained very thoroughly in separate 
 chapters. To explain more fully the primary 
 rules of either one of these three branches of 
 painting as may interest the individual student, 
 I have divided them in three separate classes. 
 Students may refer to them accordingly. 
 
 This book is purposely written for students 
 wishing to learn the painting of flowers and 
 fruits from nature, without the help of a teacher. 
 It is no doubt a difficult matter to learn a trade 
 or an art without having a person to explain to 
 you how to master the different difficulties. 
 
 The best way to follow is to purchase a text 
 book which would take the place of a teacher 
 and gives all the important facts you may re-
 
 quire at least for the beginning, and to acquire 
 from this book a general idea of this art. 
 
 If you are sincerely interested in your work, 
 you will continually learn new points and master 
 those difficulties thought insurmountable at the 
 beginning. 
 
 Work and work again, as this book does not 
 accomplish, but teaches you the method, with 
 which you must accomplish. 
 
 Art is difficult, as it not only attempts to re- 
 produce nature, but it adds, takes or composes 
 for the purpose of making harmonious things. 
 Study nature continually, as this is the master 
 teacher of all branches of art. 
 
 Readers may also be able to make useful com- 
 parisons between these three kinds of paintings, 
 and the comparisons may prove useful and inter- 
 esting. 
 
 Flowers are very airy and weigh very little, so 
 that they can be easily placed, here and there, 
 partly covered with background or coming out 
 of the clouds, making it very pretty and light. 
 
 Fruit, on the contrary, being heavier by nature, 
 are in most cases painted in a laying position, 
 for instance on the table, in a basket, etc. In 
 china painting, they are also painted in decora- 
 tive positions. You will notice, that though 
 flowers generally look upward, fruits hang down, 
 this being very obvious, as they are heavier 
 than flowers. 
 
 Such a fact is, however, very often overlooked 
 and the appearance of the subject will be faulty 
 and out of place. 
 
 There is another difference between flowers 
 and fruits, this difference being in the trans- 
 parency of the subject.
 
 Flower petals are very thin and transparent; 
 while the nature of fruit will generally not allow 
 the light to penetrate them. 
 
 An exception to this rule would be grapes, 
 currants, gooseberries and a few others, which 
 being of a liquid nature, will allow the light to 
 penetrate them and will show a certain amount 
 of transparency. 
 
 The student should also remember, that espe- 
 cially among flowers, nature follows a certain 
 rule as to the amount of petals for every flower 
 and also as to the attachment of such petals to 
 the main body. 
 
 You will find, for instance that wild roses 
 have five petals, violets have five, as also forget- 
 me-nots and most of the fruit blossoms have five 
 petals, and if you paint any special flower, it is 
 absolutely necessary that you know beforehand 
 how many petals such a flower has, so that you 
 may paint it correctly. Green leaves also grow 
 in clusters of certain numbers, 3, 5, 7, etc. 
 
 Of course, there are exceptions to the rule, 
 because natural freaks are liable to show a flower 
 with one petal less or more than the general 
 rule, but this being only an exception, it should 
 not enter into your decoration, because you are 
 supposed to paint nature as it is in its proper 
 form. 
 
 You never paint clover leaves with four petals, 
 simply because you are apt to see one with four 
 leaves; and for the same reason you should al- 
 ways study the character, not only in form, but 
 also in the number of petals. 
 
 It would be a difficult matter to give a certain 
 number of petals for roses, chrysanthemums and 
 such flowers with a large number of petals, but it
 
 would not be surprising if they also would come 
 very close (if not accurate) to a certain number 
 of petals. 
 
 With fruit of course, this rule is not neces- 
 sary, because fruits are in solid form and they 
 will only follow a certain shape and that will be 
 all that need be observed by students. 
 
 The stems of the fruit are always more clumsy 
 and stronger than the st'eras of flowers because 
 fruit is heavier and needs support. 
 
 These are a few of the principle rules which I 
 wish to impress upon the students, and a good 
 many more will be added in the course of this 
 book. 
 
 WATER COLOR PAINTING 
 
 AINTING with Water Colors is perhaps 
 the most difficult of the three methods 
 treated in this book. It is most difficult 
 because if a mistake is made, for in- 
 stance, color applied over a high light, a cloud 
 covered by the wrong tint, a false line on your 
 figure subject, etc., it is particularly difficult, if 
 not impossible, to cover up the mistake, at least 
 without recourse to some special trick. 
 
 Paper does naturally absorb the color and 
 no amount of washing or tampering will give 
 you good results. You may make a clever cor- 
 rection, but not clever enough to pass unobserved 
 by an expert critic. 
 
 In other branches of Art, colors can be erased 
 or covered, but not so easily in Water Color 
 painting. The peculiar nature of the paper will 
 always retain a certain amount of the color- 
 
 10
 
 You, therefore, "are warned to be most attentive 
 in planning every color before the application of 
 the different shades, as when you have started, 
 you will not be able to take time for mixing new 
 shades or looking for colors, brushes, etc. 
 
 Prepare at first an accurate drawing of the 
 subject you wish to reproduce. Remember that 
 drawing is of the utmost importance as if the 
 drawing is good, you have attained half of the 
 success. Take sufficient time and plan all your 
 details with a very delicate pencil line, even 
 marking small secondary objects liable to escape 
 your attention when you are busily engaged in 
 applying colors. 
 
 When you paint, every stroke must be in the 
 proper place and the work must be rapid. The 
 quick drying of the Water Colors and the dif- 
 ficulty of changing shades or connecting them 
 without leaving hard marks or lines is very 
 great. In fact, your proficiency will be attained 
 when you will be able to blend and unite differ- 
 ent parts in your painting without showing any 
 sharp and connecting lines. In order to suc- 
 ceed in this, I advise you to have several small 
 receptacles (small saucers) at hand and prepare 
 all the main shades needed for the particular 
 work you wish to undertake. For instance, if 
 you are to paint a landscape and wish now to 
 paint the sky, you should have a small receptacle 
 or small saucer with the general blue tint of the 
 sky, one with the light tint needed on the light 
 part of the clouds, one with the middle tone of 
 the clouds, one with other dark shading, etc. If 
 any other color is needed, have still other saucers 
 containing the different shades and in plentiful 
 quantity. 
 
 11
 
 If you wish to paint flowers have several 
 saucers with the different shades of colors, as 
 for instance, for a Pink Rose. Have two or 
 three strengths of CARMINE, some for the dark 
 shades, one for the middle tone and one for the 
 lightest parts. Have another saucer with the 
 neutral tone, as for instance, a very diluted mix- 
 ture of CARMINE AND EMERALD GREEN 
 which is used for a neutral tone and have some 
 LIGHT YELLOW for transparency often noticed 
 at the attachment of the petals. 
 
 Having all the colors at hand, you will now 
 take several clean brushes and will begin to ap- 
 ply the the colors in the proper place as seen on 
 the original you are trying to copy. ALWAYS 
 begin painting your subject on the upper part 
 and have plenty of color in your brush so that it 
 will spread and run downward and suffuse into 
 the next shade you are going to apply. If you 
 use a brush with very little color on it, your ap- 
 plication of color will dry too quickly and this 
 will handicap you in blending the different 
 shades. Take of one color and apply, then apply 
 of another next to the first one before the first 
 one has time to dry and the two will blend to- 
 gether without leaving any bad or sharp lines. 
 Keep on until the different parts of the subject 
 is finished. 
 
 It is very difficult to paint a flower or any 
 other subject with only one coating of color, 
 but by working as simply as possible and by re- 
 touching as little as possible, you will have a 
 much better effect and a more transparent one 
 than if you had retouched and repainted your 
 work several times. 
 
 Dampening of the paper is a good help and 
 12
 
 will keep your* colors from drying quickly. In 
 this case you dampen the paper only on those 
 parts you are intending to paint. Use a large 
 brush full of water and go over the paper two 
 or three times, as only one coating of water will 
 not be sufficient to leave enough humidity in the 
 paper. As I have mentioned above, you should 
 not dampen the whole picture, but only the indi- 
 vidual parts to be painted at the present time 
 and in this way you can blend your different 
 colors much easier and at your own ease. When 
 you work with dampened paper, use more color, 
 as your tints will dry out very light. 
 
 An experienced artist may be able to work 
 very satisfactorily without having any special 
 outfit, or moistening of paper or tints ready in 
 the saucers, but it takes a long time to master 
 this art. I also advise students to use colors in 
 tubes, as tubes are ready and quickly pressed 
 out on the palette, furthermore they are always 
 clean. Colors in pans, on the contrary, are gen- 
 erally passed over and over with the brush and 
 are not always clean ; they will also require con- 
 siderable rubbing before the necessary color is 
 produced. A list of colors are given here which 
 are considered sufficient outfit for a general line 
 of Flower and Fruit painting. Of course, many 
 more shades are manufactured and could be 
 added to the list but for a good all-around outfit 
 the following list is sufficient: 
 
 INDIAN YELLOW EMERALD GREEN 
 
 LT. CADMIUM YELLOW RAW SIENNA 
 DK. CADMIUM YELLOW COBALT BLUE 
 VERMILION PRUSSIAN BLUE 
 
 CRIMSON LAKE HOOKERS GREEN 
 
 CARMINE No 1 
 
 13
 
 BURNT SIENNA HOOKERS GREEN 
 
 VAN DYKE BROWN No. 2 
 
 IVORY BLACK CHINESE WHITE 
 PAYNES' GRAY 
 
 By intermixing these seventeen shades many 
 other shades are obtained and these will give 
 you a large field of colors. For instance, by 
 mixing INDIAN YELLOW with PRUSSIAN 
 BLUE a variety of very good GREENS for foli- 
 age will be obtained. CARMINE mixed with 
 COBALT BLUE will give a soft, good VIOLET 
 and PURPLE tone, etc. If you can purchase 
 good quality colors, do so, as good quality mate- 
 rials are more reliable and work more satisfac- 
 torily. 
 
 As for Brushes, four or five different sizes 
 will be all you need. One small No. 1, two me- 
 dium No. 4 and No. 6 and two large wash brushes 
 No. 10 and No. 12, all pointed. Purchase good 
 paper, for instance, Whatman's, Fabriano or Ar- 
 nold's as these three marks are good. However, 
 I do not advise using the rough surface paper 
 for student's work, as this quality requires more 
 ability to handle and cover. The smooth and 
 medium quality will be far better paper for the 
 present. Have it well tacked up on the Draw- 
 ing Board or use paper blocks. Have a recept- 
 acle for clean water, a slab of white opaque glass 
 or a white china palette will compete your outfit. 
 
 In painting with Water Colors, begin always 
 at the upper part of the picture as we have al- 
 ready mentioned. Keep your paper leaning back- 
 ward and not lying flat on the table, as this will 
 allow your shades to move downward and will 
 also prevent the forming of color pools which 
 
 14
 
 would affect th$ appearance of the painting. 
 Finish up all your work as much as you possibly 
 can with the first coating. The least tampering, 
 the better the effect. Sketch down the whole 
 picture so as to have a good idea of the general 
 effect and then apply the details at the end. 
 
 If you are very little acquainted with Water 
 Color Painting Art, you will find a large variety 
 of information on the Book "The Teacher of 
 Water Color Painting," by the same writer. List 
 of his books can be found elsewhere in this 
 booklet. A catalog showing more complete list 
 of colors, brushes, papers, models in colors, etc., 
 will be sent free of charge by writing this 
 author. 
 
 15
 
 OIL PAINTING 
 
 I L PAINTING varies 
 from both Water Color 
 painting and China 
 painting which two 
 might be called transparent. 
 
 In Oil painting the colors are fully opaque, or 
 not transparent. They cover everything under 
 them. To make a light color out of a dark 
 shade, you add White, which is also a non-trans- 
 parent color. 
 
 The more White you use, the lighter will be 
 your shade. 
 The best medium used is boiled Linseed Oil, 
 
 16
 
 perhaps mixed with turpentine, about half and 
 half, to make if less glossy. 
 
 With oil colors you can work almost at your 
 own pleasure, as a mistake can easily be covered 
 and another color applied over the mistake- You 
 can retouch your painting continually, though I 
 would advise students to allow the former coat- 
 ing to dry perfectly before applying more colors 
 over the previous day application. 
 
 This is to prevent the accumulation of oil af- 
 fecting the durability of the picture. 
 
 The technique in painting with Oil colors may 
 be good or bad according to the attention given 
 to a few simple rules in the application of colors. 
 Good painting should have freshness of color, 
 good handling of the brush, and lack of tinkering. 
 Titian is a master in technique, while Hals is a 
 master in handling of the brush. Bougherau is 
 perfect in a finished technique, while Zorn and 
 Sargent are more attentive to simplicity in hand- 
 ling colors. They do not tinker and every brush 
 stroke counts. 
 
 In comparing the old masters, with the new 
 ones, I come to the conclusion that the old mas- 
 ters worked over and over their paintings, in 
 this manner producing a certain thickness of 
 color and oil causing in their paintings a solid 
 surface, resistant to weather influences and to 
 change of tone. The modern masters on the 
 contrary, paint their pictures quickly with few 
 strokes and with little thickness of color, there- 
 by producing a work lacking that deepness of 
 color, as found in the old master's work. Mur- 
 rillo, Raphael, VanDyke, Rembrandt have, you 
 may say, fresh and perfect color. Raffaeli 
 paints in the old master's style, so does Sim, and 
 
 17
 
 their works look always clear and rich. But 
 the tendency of the newcomers is to produce 
 effects with very little color, a method requiring 
 great training and technical knowledge, but 
 having a flat appearance. 
 
 It is very difficult to reproduce Flowers, of 
 Fruits or a person's features with a few strokes 
 of the brush, but the modern masters can do it. 
 Summing up, students should rather learn to 
 paint with abundance of color than with light 
 thin ones. A good deal of color in a painting 
 will keep fresh without much varnishing, while 
 a thin color will acquire that mat surface, lack- 
 ing depth and freshness. I would also advise 
 students to avoid mixtures harmful to the color 
 and to use as medium in Oil Painting a mixture of 
 half turpentine and half boiled linseed oil of 
 good quality. While this mixture will act as a 
 varnish for the colors, it will not give the gloss 
 that pure linseed oil will give to the painting. 
 Too much gloss is undesirable and by mixing half 
 of the oil and half of the turpentine, the pro- 
 portion will give the correct appearance to the 
 painting without further need of varnish. Tur- 
 pentine alone would give a mat appearance to 
 the colors in the picture. These advices will 
 help considerably in starting students toward 
 better work. 
 
 As I have mentioned in the painting with 
 Water colors, students should have their subject 
 well drawn on the canvas before beginning the 
 application of colors. The size, movement, the 
 composition o'f the group must be well under- 
 stood and drawn. This being done, half of the 
 work is accomp'ished. Begin now by applying 
 the background, and next paint the dark flowers 
 
 18
 
 CURRANT SKETCH BY D. M. CAMPANA
 
 or fruits or anything- that is more in the shade. 
 These dark parts of the picture are the con- 
 trolling spots of your composition and follow 
 up from dark to light and lighter portion of the 
 picture until you have the whole canvas covered. 
 This first application does not signify any finish- 
 ing of any part of the canvas, but it is a general 
 covering of colors, giving you a temporary idea 
 of the general color effect of the picture. The 
 details will come later when you have found a 
 good, harmonious combination of colors. If you 
 are not quite versed in the name of colors, in 
 their mixtures, in the technique of painting in 
 Oil, you will find all details given in the book, 
 "The Teacher of Oil Painting, 5 ' by the same 
 writer, as this present book dwells more in mat- 
 ter pertaining to painting the different species 
 of Fruit and Flowers, it being understood that 
 you already know how to handle the colors and 
 the brush. A list of Oil colors which will be 
 sufficient for painting Fruits and Flowers in gen- 
 eral is given as follows: 
 
 Flake White Carmine Lake 
 
 Cobalt Blue Crimson Lake 
 
 Vermilion Ivory Black 
 
 Raw Sienna Emerald Green 
 
 Burnt Sienna Cadmium Yellow, Dk. 
 
 Vandyke Brown Prussian Blue 
 
 Chrome Yellow, Lt. Naples Yellow 
 Chrome Yellow, Dk. 1 bottle pale linseed oil 
 A list of Brushes, is as follows: 
 1/2 doz- Bristle Brushes (Flat). 
 Teach No. 2, No. 6, No. 10, No. 14, No. 18 
 and No. 20. 
 
 For canvas: You may use cotton canvas for 
 
 20
 
 sketching, this* being sold by the yard- For 
 better work you may use linen canvas also sold 
 by the yard. Canvas mounted boards are also 
 very useful for out-of-door sketching. Stretcher 
 pieces can be bought and canvas tacked on by the 
 student. A palette about 9x12, an oil cup and 
 an easel will complete a fair outfit. The cost 
 may be about $6.00 for brushes and colors, $1.00 
 for one yard of canvas and $3.00 for the easel. 
 This easel is not always necessary. Any stick 
 can be used for leaning your arm. A complete 
 catalog showing a large variety of materials 
 used by students and artists will be sent free of 
 charge by writing the author of this book. 
 
 CHINA PAINTING 
 
 N CHINA PAINTING you use colors 
 which are manufactured from oxide, 
 such as oxide of tin, oxide of magnesia, 
 oxide of cobalt, etc., combined with such 
 minerals as flint, spar, lead, iron, gold, etc. 
 These colors applied over the white surface of 
 the China will cover it partly, therefore, colors 
 used for China painting may be called medium 
 opaque. 
 
 If you take, for instance, a SKY BLUE and 
 apply this color over White China in a very thin 
 coating, the white body of the China will show 
 through your color and will give a delicate, near- 
 ly white blue. Should you use the same blue in 
 a thicker coating, the china body will not show 
 through as much as before and your blue will be 
 darker. This is to show you that a thin coat of 
 china color will give you a light tint, and a thick 
 
 21
 
 coating of the same color will give you a dark 
 tint. It is the accumulation of color that makes 
 it more or less dark. 
 
 Take a black for instance. Apply a very thin 
 coating of this shade over the White China. 
 Your color will appear as a cold, light grey, 
 while if you use the same black in a thick form, 
 the China will be completely covered and your 
 effect would be solid black. It is so with every 
 color in China Painting. This also refers to 
 light shades reapplied one over the other. This 
 second application will intensify and make the 
 color darker. 
 
 Take now a Pink tint. By using a very thick 
 color of ROSE color you will have a pretty, deli- 
 cate pink tint. Now take some of the same color 
 and touch over the rose with the same shade 
 just as thick as you used it on the first applica- 
 tion and these two coatings will give you a 
 darker tone, because the color is thick and the 
 china more heavily covered. I hope that you 
 may understand these general rules and that 
 when you wish to have dark or light shades, you 
 may know by which means to obtain them. For 
 instance, when the color is thin, the shades will 
 be light and when the color is thick, the shade 
 will be dark. This rule applies only to such a 
 surface as White porcelain as if the body of your 
 china is dark, your light shades would not give 
 you the same effect as if the china was plain 
 white. The conclusion is, fhat colors used in 
 china painting are half transparent and will al- 
 low the background to show through the color 
 itself. You could never paint a Pink Rose over 
 a dark brown surface because the brown surface 
 
 22
 
 of the vase woujd color the Pink shades applied 
 over it. 
 
 Another pecularity of China painting is that 
 the colors must be burnt into the China or else 
 they will rub off. This burning will develop the 
 minerals contained in the colors, making them 
 brilliant, glossy and adherent. 
 
 These special pigments are mixed with an oil 
 called MIXING MEDIUM. All China colors con- 
 tain a certain quantity of calcined lead which 
 during the process of burning will melt and pro- 
 duce the strong gloss noticed on all china decora- 
 tion. This is the general idea of the technique 
 of china painting, though, of course, there are a 
 good many tricks and a good many things to 
 know in order to master all the different 
 branches. 
 
 If you intend to become proficient in this 
 branch of Art, you should either take a few les- 
 sons or consult the books that are given espec- 
 ially to the technical study of china painting. 
 The book called the "Teacher of China Painting," 
 by this writer, treats very thoroughly everything 
 required in the instruction of painting porcelain. 
 Write him for prices. 
 
 Comparing Water Color painting with this lat- 
 ter branch, you will find that they do not vary 
 very much, only for the reason that one of them 
 must be burned in order to carry out the trans- 
 parency of the colors, otherwise the style of 
 painting is much the same and if you can treat 
 well the water colors, you will easily treat the 
 china colors. High lights are left white on the 
 China and are also left white on the paper when 
 painting with water colors. A satisfactory list 
 of colors for painting Flowers and Fruits on 
 
 23
 
 China is shown here. Buy colors in powder 
 form : 
 
 Ivory Yellow Rose Color 
 
 Lemon Yellow Ruby Purple 
 
 Egg Yellow Crimson Purple 
 
 Yellow Green Outling Black 
 
 Olive Green Best Black 
 
 Shading Green Yellow Red 
 
 Russian Green Dk. Pompadour Red 
 
 Darkest Green Pearl Gray 
 
 Baby Blue Violet Color 
 
 Turquoise Blue Blood Red 
 
 Banding Blue Copenhagen Gray 
 Royal Blue 
 
 The powder color purchased in small quantity 
 is placed on a glass slab and a small quantity of 
 mixing medium poured over this color. Use only 
 enough of the medium to give a thick paste, 
 and with your palette knife mix dow 7 n the two 
 in a grinding or rubbing way until they are a 
 smooth paste. Set it on the corner of the slab 
 and take another color and then another, always 
 doing the same mixing with your palette knife. 
 When you have enough colors mixed for your 
 purpose, begin the painting. 
 
 Have at hand a small receptacle with some 
 clean turpentine to clean your brushes; have a 
 small receptacle with a few drops of diluting 
 medium used to thin the colors when they are 
 too thick; have your brushes in good shape and 
 begin the application of your colors. Of course, 
 you must have a fair idea of your design drawn 
 on the China before you proceed with your 
 painting. The drawing can be done with a wax 
 
 24
 
 pencil or India Ink and both will disappear dur- 
 ing the firing. Apply your colors smoothly and 
 not thick, using flat brushes called Square Shad- 
 ers. For details you can use outliners. 
 
 When you paint, try always to begin by paint- 
 ing the shadows or the heavy shades of the sub- 
 ject, and when you have those shades all done, 
 the china is burned and the colors will then de- 
 velop clear and glossy. You now apply the gen- 
 eral tint all over the flowers. Yellow if the 
 flower is yellow, pink if the flower is pink, etc., 
 and you cut out the high lights needed. You 
 retouch the dark shades with a small brush, you 
 detail the leaves, and burn your decoration again. 
 
 After this second firing your decoration should 
 begin to look cleaner and more finished. The 
 background may be now applied and if necessary 
 a third retouching and detailing of the flowers 
 or fruit is done. Then the article is fired for 
 the third time. Many tricks and things must be 
 learned before you can master this kind of work 
 and if you are looking for a thorough, technical 
 instruction on the application of colors, on the 
 quality of brushes, on the method of firing, etc. 
 I would advise you to consult a book given es- 
 pecially to this general technique of China paint- 
 ing. The book, "The Teacher of China Paint- 
 ing," by the same writer, is a complete text in 
 every respect on this subject. 
 
 In painting Flowers and Fruits on China, I 
 advise students to follow the fundamental rules 
 in Art and make their work as decorative as 
 possible and subservient to the special shape to 
 be decorated, rather than trying to make a 
 prominent and out-of-place design. Remember 
 
 25
 
 that while a group of naturalistic Flowers and 
 Fruits will look good on a flat shape, they will 
 he out of place on a round vase, or on a round 
 article. Therefore, paint Flowers and Fruits on 
 plaques or tiles and you will show your apprecia- 
 tion and knowledge of fundamental Art and will 
 he ahle to display your ahility with a good pur- 
 pose. 
 
 In writing on the fundamental instructions of 
 Water coloring and Oil Color painting, I have 
 made several suggestions on the form of Flowers 
 and leaves, on colors, shapes, forms, etc., and 
 these preliminary points should be followed in 
 all three branches of painting. Nature is al- 
 ways the same, be it displayed in any kind of 
 form and the shape and peculiarities of Flowers 
 and Fruits will always be identical. Draw your 
 subject well or have it fully in mind before you 
 apply the colors. Also it will be wise to group 
 your subject in such a way that the whole pic- 
 ture may look harmonious and decorative. Well 
 decorated articles show knowledge in disposition 
 of lines and knowledge in disposition of masses 
 of colors and a genuine sense of harmony in 
 general. 
 
 A sufficient outfit of materials for china paint- 
 ing comprises the list of colors given on page 21 
 plus 1 square shader No. 2, 1 No. 6, 1 No. 8, 1 
 quill liner No. 2, 1 bottle mixing medium, 1 
 knife 2 1 />-inch blade, 1 oz. turpentine, 1 wax 
 pencil. The whole outfit to be about $4.50. Com- 
 plete catalog showing every article used in china, 
 water color and oil color painting will be sent 
 free of charge by writing this author. 
 
 26
 
 BACKGROUND 
 (Water Color Painting) 
 
 OR water colors I 
 would advise you to 
 begin from the light 
 
 part of the back- 
 ground and come gradually 
 to the very darkest shades. 
 In water colors, for instance, 
 you could use a very watery 
 tint of any light YELLOW 
 you may have at hand and 
 come down further by add- 
 ing to that color a trifle of DARK CADMIUM or 
 perhaps RAW SIENNA. If you are painting a 
 landscape picture, your background will be the 
 sky, the trees, and the other individual parts 
 composing the landscape, and you will use the 
 colors accordingly ; but on the contrary, if you 
 paint a picture of flowers in a vase or in a dec- 
 orative composition, you should give the sub- 
 
 27
 
 ject a background that is more effective and 
 harmonizing with the flowers themselves. For 
 instance, dark roses, pink roses, chrysanthemums, 
 or any flowers with a clear, bright color, will 
 harmonize well surrounded by a light gray back- 
 ground, and on the contrary, white flowers would 
 make a better effect when painted in connection 
 with a dark gray or green background. 
 
 The same rule answers also for fruit compo- 
 sition. Use plenty of color in your brush, that 
 is, have plenty of the liquid, and begin from the 
 top part of the picture, coming down quickly 
 and blending your colors while they are wet. 
 To be ready for this quick tinting, I advise you 
 to prepare the different tints in different saucers 
 and have them all ready at hand. You will then 
 lose no time in making the needed shades when 
 you need them and you will do smoother and 
 more perfect work- Taken in general, it is far 
 easier to make a light background than a dark 
 one. Further down you may add a trifle of 
 BURNT SIENNA and still further, toward the 
 very darkest part, you may use VAN DYKE 
 BROWN. This background will be warm and 
 pretty, but if a more grayish background is de- 
 sired, you could use a very watery wash of CO- 
 BALT BLUE on the light part and add to it 
 more and more of the PAYNES GRAY the fur- 
 ther down you come until you have it very dark. 
 The addition of a small quantity of EMERALD 
 GREEN will make very pretty shades. 
 
 The shadow leaves and flowers in the back- 
 ground can be applied when the background is 
 dried, unless you wish to make some leaves or 
 flowers very light in the background, in which 
 
 28
 
 case you must leave the space WHITE at first 
 and paint this s'pace afterwards. In all back- 
 grounds you may leave small spaces untouched 
 here or there, which small spaces would suggest 
 some uncertain things or high lights. You will 
 find that these little touches here and there in 
 plain WHITE will give more life to your picture. 
 
 BACKGROUND (Oil Painting) 
 
 N OIL COLORS, to make a background 
 you could use COBALT BLUE, BLACK 
 or EMERALD GREEN mixed with a 
 good deal of WHITE. These three colors 
 wouM be very pretty for a GRAY background. 
 For a BROWN BACKGROUND, I would suggest 
 the VAN DYKE BROWN for the very darkest 
 parts, followed by BURNT SIENNA and still 
 further with the addition of ORANGE YELLOW 
 and still further a LIGHT CADMIUM YELLOW 
 mixed with WHITE. Later you may paint again 
 over the background, but this can be done when 
 the former coating is thoroughly dried. 
 
 If you wish to make a good and effective back- 
 ground, you should try to make it very smooth 
 and have the colors blend into one another very 
 gradually, because it is this graduated effect of 
 color that improves the subject painted in the 
 foreground. If you had, for instance, a brown 
 color with a straight abrupt line and right close 
 to it a green color also ending with a straight 
 line and other colors applied in the same way, 
 you could not suggest any sky effect or back- 
 ground, but if these three or four colors were 
 
 29
 
 very carefully blended into one another so that 
 you could hardly tell where one starts or fin- 
 ishes, then you would have a very pretty effect. 
 It will give the atmospheric effect to your paint- 
 ing and the better the background, the more 
 effective will be the general appearance of the 
 decoration. 
 
 As I have mentioned ATMOSPHERE I must 
 remind you that in order to have an easy and 
 light effect, the decoration must not be hard and 
 solid and this is very well expressed by saying, 
 that you must have atmosphere. This word 
 means distance, softness, life and harmonious 
 colors. 
 
 BACKGROUND (China Painting) 
 
 N PAINTING flowers or fruits for dec- 
 orative purposes, you will find that they 
 always require a certain background. 
 This will enable the subject in the fore- 
 ground to appear soft and easy and to blend in- 
 to the air, so to say. The background is noth- 
 ing but a conventionalized sky where flowers and 
 fruits are supposed to be depicted. In a good 
 many cases the background can be of the color 
 of the sky, as for instance, BLUE or DEEP 
 BLUE GREEN very delicate and smooth, but as 
 in a good many cases the decoration harmonizes 
 better with a different color in the background, 
 this BLUE sky is changed to delicate shades, as 
 for instance, IVORY YELLOW or YELLOW 
 BROWN or GRAY or GREEN, etc., all very 
 well padded down and made smooth. To make 
 
 30
 
 the effect still more pleasing you can apply dif- 
 ferent colors in the background, one next to the 
 other and perhaps making one side of trie decor- 
 ation all dark by using such a dark color as 
 FINISHING BROWN changed into HAIR 
 BROWN and still further YELLOW BROWN 
 and further yet IMPERIAL IVORY and going 
 toward the lightest part with IVORY YELLOW. 
 This effect if well blended together will be very 
 beautiful and effective and your flowers will be 
 well connected and will not appear loose in the 
 air. 
 
 If the effect should be more in GRAY, use 
 COPENHAGEN BLUE, then follow this dark 
 color with COPENHAGEN GRAY and further 
 add very thin DEEP BLUE GREEN. Within 
 this background, you can always have a sugges- 
 tion of a flower or fruit represented in the gen- 
 eral decoration, only you should have these sub- 
 jects very flat and subdued, because if they are 
 bright in color or if they have too much detail, 
 they will not keep their place in the background. 
 Instead they will come forward and spoil the 
 effect. 
 
 You may call these flowers, shadow flowers or 
 shadow fruits or shadow leaves and apply them 
 while you apply the background or else on the 
 first firing, to be covered up with the background 
 in the second firing. You may also have some 
 suggestions of stemp here and there, because if 
 there is, no stems to hold your subjects, they 
 will appear faulty and weak. 
 
 Backgrounds in china painting are generally 
 applied after the main decorations are painted 
 down, as decorators can then more easily decide 
 
 31
 
 which color to use for this background, and can 
 see which tinting harmonizes with the main sub- 
 ject. Of course such a background is more 
 easily handled if the subject is already burned 
 into the china, but if you are careful in not in- 
 terfering with the fresh decorations, you can 
 apply considerable background on the first firing. 
 As I have mentioned before, attempt to make a 
 smooth tinting, padding the different colors one 
 into the other while they are still fresh, and 
 blend over the edges of some of the leaves, 
 flowers or fruit, as the case may be. The back- 
 ground should be worked so that you can not 
 well distinguish where one color starts or the 
 other finishes. 
 
 COMPOSITION 
 
 OOD composition implies proper arrange- 
 ment of dark shades or spots contained 
 in the picture. Do not have a very 
 dark effect on one side, unless such a 
 dark color is occasionally represented here and 
 there to counterbalance. After you have plan- 
 ned your design, place it in front of a looking 
 glass and see if it looks correct. The looking- 
 glass shows your design reversed and you can 
 often trace mistakes which you had not noticed 
 while working. If you are new at this art, I 
 advise you to copy a number of good decorations 
 and become acquainted with good designs. These 
 successful works will remain in your memory 
 and guide you in your future work. You acquire 
 a good habit thereby and derive great advantage. 
 
 32
 
 COMPOSITION in a WATER COLOR paint- 
 ing or OIL COLOR painting, with flowers or 
 fruit as subjects is fairly easily handled. Such 
 paintings are mostly represented vases filled 
 with flowers or baskets filled with fruit, and the 
 important task is to place those fruit and flowers 
 in a manner that may be natural to their char- 
 acter and movement, and also in a manner that 
 may give a pleasant, easy appearance to the pic- 
 ture. Have the vase a little out of the center of 
 the picture, more to the right or left, this being 
 more appropriate from composition standpoint. 
 See also that the lines of the table where such 
 vase stands, may not come in the center of the 
 picture, but have it either higher or a trifle 
 lower. Have the main subject, the flowers or 
 fruit, in a rather solid group and with occas- 
 sional flowers or loose fruit spreading out to 
 give the effect of carelessness. There is noth- 
 ing worse than a picture, showing every indi- 
 vidual portion, placed just so distant one from 
 the other, carefully measured and stiff. Attempt 
 to have natural effect. As for the background 
 of your pictures, I am of opinion that light back- 
 grounds are always better and more decorative. 
 You may have the low foreground darker than 
 the upper part, and especially if your painting 
 represents flowers, a delicate gray background 
 will help the effect of the flowers. 
 
 If you copy a good study or perhaps if you 
 have several studies and wish to copy part from 
 one and part from another so as to compose a 
 certain decoration, you should follow a certain 
 rule of disposing these flowers or fruit to the 
 
 33
 
 very best advantage and also according to the 
 shape of the picture to he painted. 
 
 Flowers or fruit paintings, in a loose composi- 
 tion such as a ceiling, a screen, a curtain, etc., 
 where you try to reproduce your subject in a 
 decorative, airy fashion, composition is consid- 
 erably more difficult- The lightness of the move- 
 ment of the different branches and stems, the 
 masses of colors necessary to balance your pic- 
 ture, the blending of shades, clouds, etc., com- 
 plicate matters to a large extent. Have always 
 a certain group at the lower end of the painting 
 and use there more strength of color and place 
 several flowers or fruit, as the case may be. 
 Make this your base. Spread out your back- 
 ground in a cloudy form, and arrange several 
 branches from the main group outward. Do 
 not have them straight or stiff. Allow your 
 background to cover part of those branches, 
 here or there- Have other branches running in 
 different directions, but in a very natural sub- 
 dued tone, to imitate distance. Have on the op- 
 posite side of your main group a certain amount 
 of this same color effect to counter-balance the 
 picture. In other words, a composition of this 
 kind must be of easy lines and movement. 
 
 Should you wash to decorate a piece of porce- 
 lain, your space will be limited and the shape of 
 the china will also be relatively limited. If you 
 have to paint a water color or oil picture you 
 should generally have an oblong or square space, 
 which is easier to decorate. But for the china, 
 which sometimes is a vase with a round shape 
 and where your decoration must run around that 
 special shape, your task is rather difficult. 
 
 34
 
 VIOLET STUDY BY D. M. CAMPANA
 
 One of the most important things is to have a 
 simple subject as consistent with the size of the 
 china. Do not overcrowd or paint flowers and 
 fruits with the purpose of covering all of the 
 china or picture, because your decoration will 
 look heavy and undecorative. For instance, if 
 you are to decorate a round vase, say, for in- 
 stance, a cylinder vase ten inches high, I would 
 suggest that you put the flowers or fruits at 
 about four inches from the top, because you then 
 have considerable space below for a little dis- 
 play of background. For instance, if your sub- 
 ject is supposed to be ROSES, you can paint two 
 or three at the utmost, the roses being about 
 the size of a fifty-cent silver piece. Dispose 
 them one near to the other, but not necessarily 
 very close, leaving some occasional space be- 
 tween them, where you can have dark touches 
 to help you in carrying out the effect. 
 
 You can add a number of leaves in clusters of 
 three or five and these leaves should be rather 
 small, perhaps the size of a five-cent piece. You 
 can put one of these clusters, of leaves on the 
 upper part of the three roses and two or three 
 clusters on the lower part and moving around a 
 little further on the vase, you may add one or 
 two more roses with one or two more clusters 
 of leaves toward the back of your main iTroup. 
 Here you paint smaller things, such as buds or 
 perhaps one rose. 
 
 Of course, all these roses must be connected 
 with stems which, however, should be very deli- 
 cate and light. Coming down from the main 
 group of roses, you may paint one small rose 
 below, about two inches from the bottom and a 
 
 36
 
 stem coming from the main group curving to- 
 ward the lower roses. You must be certain that 
 these stems do not come down straight, as it 
 will make a very bad effect. You should always 
 have leaves here and there and if you dispose 
 these leaves in good form you will be able to 
 make a pretty composition in your china. 
 
 This short description is just an idea of how 
 you may compose a certain decoration on a vase 
 such as a cylinder vase. By placing these 
 flowers higher than the center, your decoration 
 will be more appropriate than if you placed them 
 at the center and divided the vase in two halves. 
 Of course, you could also paint them at a lower 
 part of the vase and have a light decoration at 
 the upper part. 
 
 You should always try to balance the effect by 
 having the main decoration at one side and 
 other light subjects placed here and there so as 
 to balance the composition- Of course, the same 
 rule is to be followed by flowers or any other 
 kind of decoration. 
 
 If you have a tall vase your composition should 
 be generally on flowers or fruits that have long 
 stems. You can move them from top to bottom 
 or from bottom to top. If your china vases are 
 low and squatty, you may use a flower or fruit 
 with a short stem, but do not fill all the ground 
 in sight. Have some space for a considerable 
 amount of background, which gives the atmos- 
 phere to the whole. 
 
 If you paint Water Color paintings or Oil 
 paintings, your scope is much larger and you 
 can work more freely because the surface that 
 
 37
 
 you paint is flat and is fully embraced by the 
 eye when you loook at it. 
 
 Good composition is one of the most import- 
 ant things for a decorator and if you will try to 
 be simple and have light colors you will have a 
 proper idea and will work in the right direction 
 even if your work is not perfectly correct. 
 
 On a round article, such as a plate or a round 
 picture, the main decoration should be placed at 
 one side, leaving the other part to be occupied 
 by the background. Background does the func- 
 tion of sky and is expected to add air, or easi- 
 ness, to the subject represented. 
 
 38
 
 FLOWERS 
 AND FRUIT 
 
 HE most popular flow- 
 ers among students 
 and you may say with 
 the public, are: Roses, 
 Violets, Forget-me-nots, Wild 
 Roses, Apple Blossoms, Carna- 
 tions, Lily of the Valley, Pop- 
 pies, Pansies, Chrysanthe- 
 mums, Daffodils, Morning Glories, Daisies, Nas- 
 turtiums, Snowballs, Cornflowers, Cherry Blos- 
 soms, and many others. Beginning with the 
 Roses, I will give the four shades mostly painted, 
 these being Pink Rose, Dark Red Rose, called 
 American Beauty, Yellow Rose and the White 
 Rose. Before you begin to paint these roses 
 you should have a fair idea of every character- 
 istic shape- Some of the roses are wide poen, 
 while others are in the shape of a bud with an 
 
 39
 
 occasional petal at the side. Others are in a 
 
 close round form with a dark center, some have 
 
 a good many petals and some have only a few. 
 
 Pink Roses (Water Color Painting,) 
 
 It is understood that a perfect drawing of the 
 subject must he had before the application of 
 colors begin. To paint Pink Roses in water color, 
 use the Carmine Lake, as this color is brilliant 
 and full of body, also much preferable to the 
 bright shades such as Saflowers, Geranium Lake 
 or such very bright shades, which will fade when 
 placed in the light. Paint Pink Roses in water 
 color much like you would paint them on china, 
 that is, by beginning at the center and by ap- 
 plying one broad shadow on one side. Gradu- 
 ally you paint the shadows on the outer petals 
 and when these parts are finished you can wash 
 over the delicate Rose tint covering the whole 
 rose, but the high lights which should be kept 
 white. 
 
 Near the attachment of the petals to the main 
 body of the rose, there is always a delicate shade 
 of Emerald Green very light or Cadmium Yellow 
 light. Of course, in water colors it is necessary 
 to finish up your flower as you are working at 
 it and as the color dries quickly it will be easy 
 for the student to retouch and strengthen the 
 shades if they appear to be a little too light. 
 
 Dark Red Roses (Water Color Painting) 
 
 A very satisfactory color for Dark Red Roses 
 in water color painting is Crimson Lake and this 
 color will give a very deep tone. As a general 
 rule you should begin to apply the darkest parts 
 at the center and the shades of the different 
 petals. When this dark shading is completed, 
 you can tint over the whole rose with a medium- 
 
 40
 
 heavy wash of - Carmine Lake. You may, of 
 course, leave out a few high lights, especially 
 around the edges of the petals, to make the 
 flower more crisp. 
 
 Should you desire to have a trifle of very dark 
 tone you may add to the Crimson Lake a trifle 
 of Paynes' Grey or Ivory Black. 
 
 Yellow Roses (Water Color Painting) 
 
 To paint Yellow Roses in water colors I would 
 advise you to use the Raw Sienna for the shad- 
 ing and Dark Cadmium Yellow for the central 
 touches and also for some of the transparencies 
 near the attachment of the petals. Of course, 
 some of the Yellow Roses can be painted by us- 
 ing a pale thin coating of color, but there are 
 also Yellow Roses that are painted with bright 
 colors, especially if you need a little bright effect 
 for your picture. 
 
 White Roses (Water Color Painting) 
 
 White Roses in water color painting must be 
 treated very carefully, because if you use too 
 much of the Grey for the shading, the rose will 
 look black and bad. A very small touch of 
 Paynes' Grey will be a good color for the delicate 
 shades and in some of the cooler tones, a trifle 
 of Emerald Green will be very proper. 
 
 The center of the White Rose being a trifle 
 warmer than the general color in the rose, should 
 be painted with a very little quantity of Car- 
 mine or perhaps of the Dark Cadmium Yellow. 
 
 The general rule for painting roses in water 
 color must be altered if necessary to conform 
 with the general effect of the picture, as for in- 
 stance, if the picture requires your roses to be 
 more delicate or more in the light coloring, you 
 should use your judgment and change the color 
 accordingly. 
 
 41
 
 Be certain and use plenty of color in your 
 brush and apply such a color in a broad snappy 
 way, because flowers are very airy and should 
 be reproduced as lightly as possible. 
 Roses (Oil Painting) 
 
 We wish to give also a general list of colors 
 used for the painting of roses in oil painting. 
 Of course, in oil painting you will have the ad- 
 vantage of applying color over color without 
 spoiling the picture, a thing you cannot do in 
 water color painting. For instance, if your color 
 is too light, you can paint over it and make such 
 colors dark, also a dark color can be ma'de light 
 simply by covering this dark color with a lighter 
 one. 
 
 For Pink Roses we would use the Carmine 
 mixed with the Flake White to suit your pur- 
 pose. Of course, the more the WHITE the 
 lighter will be the color. 
 
 For Dark Roses, the CRIMSON LAKE is a 
 very good color and this can also be reduced to 
 suit your purpose by adding to it a trifle of 
 WHITE or a trifle of IVORY BLACK if a dark- 
 er tone is needed. 
 
 For Yellow Roses the Raw Sienna for the 
 shading, mixed with a trifle of Chrome Yellow 
 Light and a little White. For the center of the 
 rose Chrome Orange will be a very effective 
 color. 
 
 For White Roses in Oil color a very small 
 touch of Ivory Black mixed with White will do 
 very well for the shading and a trifle of Carmine 
 or a trifle of Orange as used on the Yellow Rose 
 for the center. 
 
 These general colors are no doubt the best and 
 you may use your judgment by adding a trifle 
 
 42
 
 of some other shades (if you do not have these 
 special colors at hand) or if the general color of 
 the picture requires some changes of this effect. 
 
 Pink Roses (China Painting) 
 
 If you wish to paint a Pink Rose on china I 
 would advise you to use ROSE COLOR entirely. 
 With your brush draw an approximate size of 
 the rose made in few lines, as if you would want 
 to outline it. When you have the size of the 
 rose you may apply the center and a big large 
 shadow on one side of the rose, also some of the 
 big petals and the twisted petals that cross over 
 the roses at the body. 
 
 The small illustration (page 69) will give you 
 a little idea of how roses are started and carried 
 out- Do not use the color lumpy, as the ROSE 
 COLOR or PINKS used for roses are of a pe- 
 culiar nature and are liable to fire a trifle matt 
 if applied too heavy. 
 
 In painting not only roses but almost any sub- 
 ject, on china, remember that you should not 
 attempt to finish it in one application, but that 
 you still have another firing or two in which you 
 can strengthen your subject and apply more 
 colors. On the second firing you can retouch 
 the center of the rose with some of the Rose 
 Color used before and shade all over the rose 
 with a very thin coating of this tint. It is a 
 bad taste to mix your ROSE COLOR with any 
 other Grey or Blue. Try to keep it clean, because 
 pink roses are very clear and should be painted 
 with clear colors. Should you wish to have the 
 center of the rose a trifle darker, you may use a 
 small quantity of American Beauty Color which 
 is a shade darker than the Rose Color. By all 
 means have thin washes of these colors in order 
 
 43
 
 to prevent any roughness of the color or chip- 
 ping off. 
 
 The details of the rose should always be ap- 
 plied on the end with a small lining brush. 
 Other colors used for Rose Painting are" PEACH 
 BLOSSOM, SWEET PEA PINK, all of which are 
 used for pink roses and require a stronger firing 
 than some of the other shades. It is also ad- 
 visable to fire roses on the very back part of the 
 kiln where the firing is the strongest and where 
 they can receive a strong heat. A badly fired 
 pink rose will appear matt, the color being not 
 properly developed. 
 
 American Beauty Roses (China Painting) 
 
 The American Beauty Roses are properly 
 painted with Ruby Purple No. 2 or Crimson 
 Purple. We would rather have the Ruby Purple 
 No. 2 because it is more solid and brilliant. In 
 painting roses of any kind always start from the 
 center, as the center shows the strongest shad- 
 ows and this point should, therefore, be the be- 
 ginning of the rose. When you have the center 
 applied, apply the shadow on one side of the 
 rose, and also some of the large petals- Use 
 this first color application medium-heavy and 
 leave a good deal of the light part of the rose 
 plain white, as this white part will be shaded in 
 on the second firing. For instance, if on the 
 first firing you apply all the shadows and have 
 the opposite side of the rose white, on the second 
 firing you can paint over the whole with a wash 
 of American Beauty color covering every part 
 of the rose. The darker parts painted on the 
 first firing, will show very nicely. 
 
 Of course, if you cannot finish up the rose in 
 two firings you can retouch it for the third time, 
 
 44
 
 using the Ruby Purple No. 2. Should you de- 
 sire to add a trifle of the Black to your Ruby 
 Purple, use Purple Black rather than any other 
 color, as this Black mixes very well with the 
 Purple and Ruby. If this special color is not at 
 hand, use the Darkest Green. 
 
 In painting roses, always have a crisp, sharp 
 touch, because flowers by themselves are crisp 
 and light and the handling of your brush has a 
 good deal to do in making the roses airy. De- 
 tails come at the end and are applied with a 
 small pointed liner. 
 
 Yellow Roses (China Painting) 
 
 Using the same method of painting Yellow 
 Roses as we did with Pink Roses and American 
 Beauty Roses, we will apply the darkest parts 
 first. For the center of the Yellow Rose you 
 may use Yellow Brown, clean and pure. For the 
 center of the Yellow Rose you may use Yellow 
 Brown, clean and pure. For the shadows around 
 the rose and on the petals you can use a wash 
 of Brown Green mixed with one-third Yellow 
 Brown but be certain not to apply these shadows 
 too heavy. Work around with care and leave 
 the flat part of the rose plain white. 
 
 On the second firing you can wash over the 
 whole rose with a delicate wash of Lemon Yel- 
 low or, if you prefer a little warmer color, you 
 may use Egg Yellow. You may again retouch 
 the center of the Yellow Brown as you did be- 
 fore. Apply the small touches with a small 
 brush, using the mixture of Brown Green and 
 Yellow Brown, and if you have any reflected 
 light at the petals use Egg Yellow. 
 
 White Roses (China Painting) 
 
 The White Roses are generally painted with 
 
 45
 
 pink centers or sometimes with a Yellow Center 
 and these shades at the center of the rose will 
 look pretty and decorative. You, therefore, 
 should apply the center either by using Rose 
 Color rather thin or thin touches of the Egg 
 Yellow. For the shadow at one side of the rose 
 and at the outer petals, you may use Copenhagen 
 Grey. The light part of the rose should be kept 
 white not only on the first firing but also on the 
 second firing and perhaps, if you need a little bit 
 of tinting to alter the monotony, you may add 
 here and there a little touch of Rose Color. 
 
 Violets (Water Color Painting) 
 
 To make a good violet color in water color 
 painting you could mix the COBALT BLUE with 
 a trifle of CARMINE or if you do not have this 
 color, with CRIMSON LAKE or any similar 
 color. NEW BLUE is also a fair color instead of 
 COBALT BLUE and RUSSIAN BLUE will also 
 be good, only much darker. You may be able to 
 purchase a MAUVE COLOR and this would make 
 a very good violet shade- These colors would be 
 proper for both single and double violets. 
 
 In the center of the single violets a touch of 
 DARK CADMIUM YELLOW will be very proper. 
 For the center of the double violets a small 
 touch of EMERALD GREEN will be very effec- 
 tive. Apply the petals of the single violets in 
 one flat touch of color. Be sure that your brush 
 is full of the color and do not tamper with it. 
 Apply the two top petals in two touches and the 
 three lower ones in three touches, leaving the 
 small center plain white. You may put the 
 small dark spots when the first coating is dried. 
 
 On the double violets you may use your brush 
 in a round fashion, and working it toward the 
 
 46
 
 center, suggesting many petals. Small details 
 
 will be applied when the first coating is dried. 
 
 Violets (Oil Painting) 
 
 COBALT BLUE mixed with a trifle of CAR- 
 MINE or CRIMSON LAKE will make a very 
 deep Violet tone for the Violets and if you add 
 to it a trifle of WHITE you will have a very 
 pretty shade. As we mentioned also in the paint- 
 ing of Roses, the White color is nearly always 
 mixed with the varied shades used, as this is the 
 only method for making lighter shades. Use 
 the same color for single or double violets, add- 
 ing more or less Carmine and Blue or White, as 
 you may need. 
 
 For the center of Single Violets use a trifle of 
 Chrome Orange and for Double Violets a trifle 
 of Emerald Green mixed with White. 
 
 Violets (China Painting) 
 
 A good color for the painting of Violets in 
 china decoration is the VIOLET COLOR No. 2, 
 as I think this color is a rather bluish and makes 
 a very proper shade for this pretty flower- If 
 you should desire to paint this flower with a 
 slightly purplish shade, you could use VIOLET 
 COLOR. If you do not have any of the VIOLET 
 COLORS, mix the BANDING BLUE with one- 
 fourth of RUBY PURPLE No. 2 and this mix- 
 ture will give you a very satisfactory Violet 
 shade with which to paint the violets. 
 
 I think that you could use this color both for 
 single or double violets. You will notice that all 
 single violets have five petals and if you use a 
 good sized square shader you should be able to 
 paint every petal with one single touch. We 
 have mentioned in the chapter on Roses that the 
 handling of the brush will make the flower easy, 
 
 47
 
 proper and delicate, and also in the painting of 
 Violets if you can make every petal with one 
 broad touch, you will be surprised of the effect 
 that you attain from the simple handling of the 
 brush. 
 
 In painting Violets apply a flat tint very much 
 alike on all petals and on the second firing you 
 can always shade the lower center petals and 
 apply the little dark lines below the small seed at 
 the center. Of course, you must cut out the 
 small central space, where the color should be 
 placed later, using Egg Yellow or a thin Yellow 
 Brown tint. 
 
 The Double Violets you may paint with a 
 broad flat coating by using several strokes of the 
 brush, moving the brush always toward the cen- 
 ter and you will in this way produce a good 
 effect of the Double Violets. In the center apply 
 a delicate wash of Apple Green and while the 
 color is wet you can cut out a few high lights 
 on the VIOLET COLOR and also on the APPLE 
 GREEN center. 
 
 Details should be applied on the second firing 
 and by repeating the colors as used before. If 
 you wish to make a heavy color you may add to 
 your violet tint a very small quantity of PUR- 
 PLE BLACK, as this color mixes very nicely 
 with all Purples and Violet tones. 
 
 Forget-me-nots ('China Painting) 
 
 Forget-me-nots are flowers very much used 
 for china decorations, as this peculiar pretty 
 color makes also a very quick saleable decorated 
 china. Forget-me-nots, like Roses and Violets, 
 depend entirely on the touches of the brush and 
 you should use for this flower a medium sized 
 
 48
 
 pointed brush large enough to paint one petal 
 for every touch." 
 
 Use DEEP BLUE GREEN for Forget-me-nots 
 and if this is not at hand, you may use the 
 TURQUOISE BLUE. Apply the flower in a flat 
 five small touches, leaving the center plain white. 
 The darker shading of the flower you can apply 
 later on the second firing. The center of the 
 Forget-me-not is in a thin touch of EGG YEL- 
 LOW and one small point of CARNATION or 
 YELLOW RED No. 2 in the center. 
 
 In painting this delicate flower you should not 
 attempt to overwork them, but apply your colors 
 in a crisp, easy way and you will be more certain 
 of making a flower which will be more decora- 
 tive and pretty. 
 
 Forget-me-nots (Water Color Painting,) 
 
 Cobalt Blue makes a very pretty color for the 
 painting of Forget-me-nots in water color. If 
 you do not have this color NEW BLUE or even 
 RUSSIAN BLUE, but I would suggest the first 
 two colors if you can find them. Apply the 
 flower in a flat touch, using one touch for every 
 petal and when the first tinting is finished and 
 dried you can always apply the darker shadings. 
 Use the color well diluted with water to pro- 
 duce the proper shade. 
 
 Be certain and leave the center plain white, as 
 this center will be covered afterward with a small 
 touch of any light Yellow and one point in the 
 center with any Red you may have at hand. 
 Forget-me-nots (Oil Painting) 
 
 In Oil painting FLAKE WHITE or any good 
 white mixed with a trifle of COBALT BLUE 
 will give the proper color for Forget-me-nots. By 
 adding more blue to the white you will make the 
 
 49
 
 color darker and darker. The center will be in 
 white mixed with Yellow, with a small point in 
 any Red you may have at hand, in the center. 
 If you don't have Cobalt Blue use New Blue or 
 Permanent Blue. 
 
 Use a small, flat Russian sable brush, and do 
 not overwork the flowers, least they become 
 clumsy and undecorative. 
 
 Wild Roses (China Painting) 
 
 Wild Roses belong to the family of other 
 roses, only their shape is lighter and simplified. 
 This flower has generally five petals which should 
 be painted in a very simple manner with as few 
 touches as possible. 
 
 I would advise you to paint on at first the 
 shadows of the flowers, using ROSE COLOR or 
 if this color is not at hand with PEACH BLOS- 
 SOM. Use a large brush for this purpose and 
 apply in large, smooth touches, leaving some of 
 the high lights plain white. 
 
 On the second firing you will be able to cover 
 all the rose and the shadows underneath will 
 show the shape of the rose very nicely. The 
 center is made in BROWN GREEN and will be 
 worked out with a small pointed brush applying 
 small round touches for every one of the little 
 seeds which make a cup-like shape in the center 
 of the rose. 
 
 On the second firing you can wash all over 
 this central cup a thin wash of ALBERT YEL- 
 LOW or MOSS GREEN. If you paint several 
 of the wild roses in a cluster, you may have one 
 a trifle darker than the others just to give a 
 better color effect. Any small details or touches 
 should be applied with a small pointed brush. 
 
 50
 
 Wild Rose (Water Color Painting) 
 
 For water color, painting, a proper color to be 
 used in wild roses would be CARMINE LAKE. 
 Of course, there are other colors very brilliant 
 and also good, but those are more expensive and 
 CARMINE LAKE would be satisfactory in every 
 respect. 
 
 Have your brush full of color and see that the 
 color is very light because wild roses are of a 
 very delicate pink tone. Apply the roses by 
 using large touches and leave occasional high 
 lights here and there to give crispness to the 
 effect. 
 
 When the first tint is dried you may add some 
 of the darker shades. The seeds in the center 
 are painted with a small brush by using IN- 
 DIAN YELLOW, perhaps mixed with a trifle of 
 HOOKER'S GREEN. Apply more or less of the 
 yellow as you may find necessary. 
 
 Wild Roses (Oil Painting) 
 
 The CARMINE LAKE will be a good color 
 also in oil painting, provided you mix it with a 
 considerable quantity of FLAKE WHITE. If 
 the color is not brilliant enough for your pur- 
 pose you may add a trifle of VERMILION RED. 
 
 The shadows are made simply by using more 
 of the CARMINE or less of the WHITE. The 
 center seeds are painted also with a small brush 
 and you may use a trifle of RAW SIENNA with 
 a small quantiy of WHITE and of any GREEN 
 that you may have at hand. 
 
 Apple Blossoms (China Painting) 
 
 The best method of painting Apple Blossoms 
 with china colors will be to apply a very delicate 
 shade of GREY such, as for instance, COPEN- 
 HAGEN GREY or perhaps ASHES of HOSES 
 
 51
 
 and cover the whole flower very smootrily and 
 then with a dry brush cut out the high lights. 
 Of course, you may apply the shadows direct, 
 leaving the high lights plain white on the china 
 as I have taught you in the painting of roses, 
 etc., but if you are acquainted with this method 
 of cutting out the high lights you will find this 
 to be a very effective method. 
 
 The small seeds in the center are painted in 
 Egg Yellow. When you have fired this delicate 
 shade of grey, you may wash all over the flower 
 a very thin coating of ROSE COLOR or PEACH 
 BLOSSOM and be certain to apply this thin coat- 
 ing very smoothly. You will have a pretty effect 
 and very soft indeed. 
 
 Of course, you may use the ROSE COLOR in 
 the first firing instead of the COPENHAGEN 
 GREY, but this later color will make a far bet- 
 ter effect. Some of the buds may be covered 
 with a trifle of AMERICAN BEAUTY COLOR 
 or perhaps RUBY PURPLE. Apply the details 
 with a small brush, using either AMERICAN 
 BEAUTY COLOR or RUBY PURPLE. 
 
 Apple Blossoms (Water Color Painting) 
 
 The CARMINE LAKE will make a very pretty 
 shade for apple blossoms in water color paint- 
 ing. I would suggest that you apply the shad- 
 ows of the flower with a very thin touch of 
 CARMINE LAKE and leave the high lights 
 plain white. 
 
 For the seeds in the center you can use IN- 
 DIAN YELLOW and for the heavier touches in 
 the buds you can use the CARMINE only a 
 trifle heavier. When we mention a thin coating 
 of any color, the student should understand 
 that the thin coating in water color painting is 
 
 52
 
 only made by mixing the color with more water. 
 The more water" the thinner will be the coating. 
 All details of the flower should be applied at the 
 end with a small brush. 
 
 Apple Blossoms (Oil Painting) 
 FLAKE WHITE with a very small quantity 
 of CARMINE LAKE will also make a very pretty 
 color for this delicate flower. You may apply a 
 general coating all over the flower and by adding 
 more WHITE to the color you can apply the high 
 lights at the end. 
 
 The seeds in the center are in DARK CHROME 
 
 53
 
 YELLOW or DARK CADMIUM YELLOW. Of 
 course, some colors may be changed a little as if 
 you did not have exactly the same colors that I 
 mention in this lesson you should substitute as 
 close to those shades as you possibly can- 
 Carnations (China Painting) 
 
 There is a very large variety of Carnations, 
 some being White, some being Red, some being 
 Pink, some being Yellow, some Purple and some 
 are covered with many delicate lines. The very 
 best method in china painting will be the cover- 
 ing of the flowers with a flat, general color and 
 cutting out afterwards (while the color is still 
 wet), the different petals. For white carnations 
 I would advise the COPENHAGEN GREY, for 
 red carnations the CARNATION RED, for pink 
 carnations the PEACH BLOSSOM, for purple 
 carnations the RUBY PURPLE No. 2, for yel- 
 low carnations the FLESH SHADOW, very thin. 
 
 When the petals are carefully cut out you may 
 fire your china and wash over them on the sec- 
 ond firing a very thin tint of either RED, PINK 
 or LEMON YELLOW, according to the special 
 color of the flowers. Have a few clean WHITE 
 highlights. 
 
 Carnations f Water Color Painting) 
 
 In water color painting you must apply the 
 delicate petals of the carnation without covering 
 the high lights. Do not use a very large brush, 
 as there are very many small touches. For 
 white carnations you may use a very thin coat- 
 ing of PAYNES GREY, for pink carnations you 
 may use a light coating of CARMINE LAKE, 
 for red carnations you may use FRENCH VER- 
 MILION, for purple carnations you may use 
 CRIMSON LAKE and for yellow carnations 
 
 54
 
 DARK CADMIUM YELLOW shaded down with 
 a trifle of RAW SIENNA. 
 
 Carnations (Oil Painting) 
 
 In oil painting you will paint these flowers 
 with a small brush and the touches applied so 
 that every touch will be one petal. Start from 
 the outside petal and come toward the center. 
 For white carnations use WHITE mixed with a 
 small quantity of IVORY BLACK and COBALT 
 BLUE. For the pink carnation use CARMINE 
 LAKE and WHITE, more or less of the WHITE, 
 according to the case. For purple carnations 
 use CRIMSON LAKE and add to it a trifle of 
 WHITE if necessary. For red carnations 1 
 would advise you to use the VERMILION, which 
 can be mixed with a trifle of CRIMSON LAKE 
 for dark touches. For yellow carnations you 
 may use DARK CADMIUM YELLOW, LIGHT 
 CADMIUM YELLOW and WHITE according to 
 the shade desired. 
 
 In all cases apply the small details and high 
 lights on the very end with a small brush. 
 
 Lily of the Valley and Narcissus (China 
 Painting,) 
 
 Both Lily of the Valley and Narcissus are del- 
 icate white flowers for which I will give only 
 one rule of colors because both of them can be 
 painted with the very same colors. Such a deli- 
 cate flower as these two are very easily spoiled 
 if they are painted with too much color and 
 therefore, I instruct you to use your shading 
 very sparingly and leave a good many high lights. 
 
 The delicate shading is made with COPEN- 
 HAGEN GREY used very thin and be certain to 
 leave high lights on one side and have your 
 shadows on the other side of the flower. There 
 
 55
 
 is a delicate YELLOW TONE in the center of 
 the flower which can be applied on the second 
 firing, but on the Narcissus this YELLOW TONE 
 should be a trifle darker than in the lily of the 
 valley. In fact, the small cup in the center of 
 the narcissus has sometimes a hue of LEMON 
 YELLOW. For the center of the lily of the 
 valley you may use also LEMON YELLOW but 
 very thin. 
 
 Apply the shadows with COPENHAGEN 
 GREY and the small details with the same color 
 only by using a small liner. On the second fir- 
 ing you may use the same color applied with a 
 small brush. 
 
 Eily of the Valley and .Narcissus 
 (Water Color Painting) 
 
 For water color painting I would advise you 
 to use a very thin coating of PAYNES GREY 
 mixed with a trifle of EMERALD GREEN to be 
 used for the shading of the Lily of the Valley 
 and Narcissus. Apply the delicate shading with 
 a very quick and accurate touch and be careful 
 that you do not apply too much color which 
 would make the flower very heavy and bad. Use 
 a small brush for the details and use CADMIUM 
 YELLOW LIGHT for the center. 
 
 Lily of the Valley and Narcissus 
 (Oil Painting) 
 
 A very small quantity of IVORY BLACK and 
 ANTWERP BLUE mixed with WHITE will 
 make a good shading for Lily of the Valley and 
 Narcissus. Apply the high lights with pure 
 clean WHITE and the center of these flowers 
 can be painted at the end with a small touch of 
 CHROME YELLOW DARK and WHITE. The 
 high lights, of course, are in plain WHITE. 
 
 56
 
 Poppies fChina Painting) (See page 39) 
 
 In painting poppies with china color you should 
 use a large square shader and apply this flower 
 in very broad big touches. These flowers are so 
 simple in form that it is absolutely necessary to 
 paint them with a simple method. I would ad- 
 vise you to apply only the shadows on one side 
 of the flower, leaving the opposite side plain 
 white- You may use POPPY RED or if this 
 color is not at hand you may use the YELLOW 
 RED. These two colors are similar and will 
 both give good results. 
 
 Paint a few delicate touches at the edge of the 
 petals as if you would outline them. These few 
 touches will reproduce the crispness of the petals 
 at the edge where there are many small folds 
 left by the flower when it was in a bud form. 
 
 The center of the poppy should be left white 
 and painted in APPLE GREEN. You will notice 
 that this flower has a center made like a small 
 button and you must try to reproduce it exactly 
 so. There are also small black seeds around the 
 center and these can be painted with BEST 
 BLACK. 
 
 On the second firing you may apply Poppy Red 
 covering the whole flower light or dark, but have 
 a few high lights cut out plain WHITE. This 
 color refers to field poppies and also to some of 
 the double poppies which are much larger than 
 the poppies you find in the field. 
 
 For pink poppies I would use the SWEET 
 PEA PINK and for white poppies I would use in 
 the shading the COPENHAGEN GREY. The 
 center of all these poppies have about the same 
 color. Apply little touches with a small brush 
 and besides our suggestions you may also use 
 
 57
 
 your own judgment in case you notice that a 
 small change might improve the flower. 
 Japanese Poppies (Water Color Painting) 
 In water color painting VERMILION RED 
 will he a very appropriate color. If this color is 
 a trifle too light you may add to it a small quan- 
 tity of CARMINE. Apply this color with a large 
 brush and have plenty of color so that the touch 
 will be rich and smooth. For the light shades 
 you may use the same color only very watery 
 and for the center of the flower you may use 
 EMERALD GREEN with light small touches of 
 IVORY BLACK for the seeds. 
 
 For light delicate pink poppies the CARMINE 
 mixed with water will give a pretty shade and 
 for white poppies water with a trifle of PAYNES 
 GREY will be very appropriate. EMERALD 
 GREEN and IVORY BLACK will be used for the 
 center. 
 
 Japanese Poppies (Oil Painting) 
 
 In oil painting you may use also the VER- 
 MILION RED for varied poppies perhaps mixed 
 here and there with a trifle of WHITE and in 
 the dark places with CARMINE LAKE. The 
 center can be made in any light GREEN that 
 you may have at hand and the little seeds can 
 be made with IVORY BLACK. Use more or less 
 WHITE with the VERMILION as you may find 
 necessary. 
 
 For pink poppies use WHITE and a trifle of 
 CARMINE and for white poppies a trifle of 
 BLACK mixed with WHITE. 
 
 Pansies (China Painting) (Sfee page 3) 
 
 The large variety of pansies and the extensive 
 variety of color effects of this flower, will make 
 it necessary for me to give a general rule on 
 
 58
 
 how to paint them rather than an exact list of 
 colors. I would say that almost any color is 
 good for painting pansies beginning with VIO- 
 LET, PURPLE, ORANGE, YELLOW, GREY, 
 BLACK, RED, and in fact, any color in the 
 palette. 
 
 The best method for painting pansies on china 
 would be to give a definite outline of the flower 
 itself showing a dented edge, and when you have 
 this shape planned out you can apply the dark 
 lines at the lower three petals. 
 
 Remember that the center of the pansies is in 
 a delicate ORANGE color or you may also use 
 EGG YELLOW or YELLOW BROWN. These 
 dark spots in the center of the three lower petals 
 give the character to the flower, and afterward 
 you may apply the ragged shading generally 
 seen toward the outer edge of the three lower 
 petals. This color is sometimes similar to the 
 three dark spots at the center but sometimes is 
 of a much lighter color. The two upper petals 
 are generally lighter than the other three. 
 
 As I mentioned in the beginning, you may use 
 almost any color if you are able to keep the 
 shape of the flower and you will always have a 
 good effect. PURPLE BLACK mixed with a 
 trifle of RUBY PURPLE No. 2 or CRIMSON 
 PURPLE will make a very good dark shade. 
 VIOLET COLOR No. 2 mixes always very well 
 with PURPLE BLACK and gives a beautiful 
 dark tone. These colors RUBY PURPLE No. 2, 
 VIOLET No. 2, PURPLE BLACK, ORANGE, 
 YELLOW, and LEMON YELLOW are colors 
 that will make always good shades for pansies 
 in china painting. 
 
 For white pansies I would advise COPEN- 
 
 59
 
 HAGEN GREY and if necessary, the addition of 
 some of the colors already mentioned. 
 
 Pansies (Water Color Painting) 
 
 As I stated on the painting of pansies on 
 china, there are so many varieties of colors and 
 effects in the family of pansies that almost any 
 color will be appropriate for the purpose. Trace 
 lightly the shape of the flower and apply at first 
 the dark ragged spots at the center of the three 
 lower petals. Apply afterwards the different 
 colors on the edges of the flowers and use plenty 
 of water so that your touches will look easy and 
 smooth. Apply your colors freely and do not 
 tinker because if you are afraid you will always 
 make a bad mess of the work. 
 
 You may use the following colors according to 
 the pansies that you wish to paint: CARMINE 
 LAKE mixed with COBALT BLUE will make a 
 beautiful PURPLE tone, mixed with PRUSSIAN 
 BLUE it will make a still darker PURPLE 
 shade. IVORY BLACK, DARK CADMIUM 
 YELLOW, LIGHT CADMIUM YELLOW, 
 BURNT SIENNA, PAYNES GREY and occas- 
 ional touches of VERMILION will be good colors 
 for the painting of pansies in water colors. 
 
 for white pansies use PAYNES GREY very 
 thin and be certain to leave tht center of the 
 flower plain white and cover tbis part with a 
 DARK YELLOW tone which you may have at 
 hand. 
 
 1'ttnsies (Oil Painting) 
 
 If you read the description of pansies as given 
 in water colors, I think this will give you an 
 idea of the colors to be used also in oil painting. 
 The advantage that you have in oil painting is 
 that you can put down almost any color in the 
 
 60
 
 beginning, and you can afterwards mix these 
 colors with WHITE and give a quantity of high 
 lights, finishing up the flower very quickly. 
 
 In painting pansies apply the darker colors at 
 first and follow this up with medium dark shades, 
 and on the end add more of the WHITE for 
 high lights. IVORY BLACK, COBALT BLUE, 
 CRIMSON LAKE, ORANGE YELLOW, RAW 
 SIENNA, BURNT SIENNA and WHITE mixed 
 according to the need are good. The CARMINE 
 mixed with COBALT BLUE will make a beauti- 
 ful VIOLET and IVORY BLACK mixed with 
 WHITE will make a good GREY. Allow your 
 colors to dry perfectly before you retouch your 
 painting so as to avoid the painting from be- 
 coming dark and muddy. 
 
 Chrysanthemums (China Painting) 
 
 For yellow Chrysanthemums in china painting 
 you may use BROWN GREEN for the shading. 
 On the first firing apply only the shadows using 
 exclusively the BROWN GREEN and leaving the 
 other parts plain WHITE. On the second firing 
 you may wash all over the shadows and high 
 lights with EGG YELLOW and your flower will 
 be correct. Of course, touches of darker shad- 
 ows can be applied now with a small brush and 
 by using the BROWN GREEN again. 
 
 For red chrysanthemums I would advise you 
 to use DARK POMPADOUR for the first firing, 
 painting on only the shadows and leaving the 
 light parts plain white. On the second firing 
 you wash all over a medium thick coating of 
 YELLOW RED No. 2 or POPPY RED. Should 
 these colors be not at hand use CARNATION. 
 Dark touches may be applied with VIOLET of 
 IRON, using a small trifle of it. 
 
 61
 
 The center of RED, WHITE and other colors 
 in chrysanthemums is always a trifle YELLOW 
 and you may paint this part with LEMON YEL- 
 LOW. For white chrysanthemums use COP- 
 ENHAGEN GREY and leave the high lights 
 plain WHITE. To make the effect pretty I 
 would advise you to paint the center of the 
 flowers in ROSE COLOR. Other shades found 
 in this kind of flowers are VIOLET of IRON, 
 YELLOW BROWN and many other shades. 
 Apply the petals with touches trying to imitate 
 the shape of the petals themselves and do not 
 feel afraid of making them too large or too 
 small because you will find that there are all 
 sizes of petals and therefore every one will be 
 correct. 
 
 Chrysanthemums (Water Color Painting,) 
 
 Work this flower very broadly and artistically. 
 Use your brush freely and see that every touch 
 counts for one petal. Begin to paint the flower 
 from the top and allow the color to run down 
 gradually with your brush leaving a good many 
 of the high lights plain WHITE. These high 
 lights can be tinted over later on and as regard- 
 ing the details, you may apply these when the 
 first application is dried. 
 
 For red chrysanthemums use FRENCH VER- 
 MILION mixed with a trifle of CRIMSON LAKE 
 or BURNT SIENNA. On yellow Chrysanthe- 
 mums use RAW SIENNA for the shadows, and 
 either LIGHT or DARK CADMIUM for the 
 lighter shades. For white Chrysanthemums use 
 very thin and watery PAYNES GREY. Of 
 course, there are very many colors used in 
 Chrysanthemums and you must always try to 
 
 62
 
 use your judgment in adding or taking so that 
 you make a nice ^effect in your picture. 
 Chrysanthemums (Oil Painting) 
 
 In oil painting you can paint chrysanthemums 
 by applying your color one touch over another 
 giving the shape to your touches exactly like 
 the petal of the flower. Your flower is painted 
 very much like a small cabbage, so to say, 
 keeping the color darker than the original rather 
 than lighter. You will add all the high lights a 
 little later and you will find the painting of this 
 flower to be not very difficult. 
 
 For red chrysanthemums use VERMILION 
 shaded with a trifle of IVORY BLACK, for yel- 
 low chrysanthemums use LIGHT CHROME 
 YELLOW and ORANGE YELLOW shaded with 
 RAW SIENNA. For white chrysanthemums 
 use WHITE and a small trifle of IVORY BLACK. 
 The center of these flowers are generally in a 
 light delicate YELLOW or EMERALD GREEN. 
 
 Sweet Peas (China Painting) 
 
 This flower is found in a variety of delicate 
 colors, but the most popular and pretty shades 
 of them are the pink, lavender and white. The 
 pink Sweet Peas are painted with SWEET PEA 
 PINK as this color implies. If you do not have 
 the SWEET PEA PINK you may use ROSE 
 COLOR or even PEACH BLOSSOM. For lav- 
 ender Sweet Peas you can use VIOLET COLOR 
 very thin and delicate. For white Sweet Peas 
 you can use the COPENHAGEN GREY. Al- 
 ways apply the shadows in the first firing and 
 retouch with a small brush. 
 
 In the second firing you wash over either the 
 PINK or VIOLET COLOR if these are the colors 
 of the flowers. Be certain and do not use too 
 
 63
 
 heavy colors because these are very delicate and 
 airy flowers and therefore must be painted 
 lightly. 
 
 Sweet Peas (Water Color Painting) 
 
 In water colors you may use the CARMINE 
 LAKE very watery for the pink flowers and for 
 the lavender flowers you can use a very light 
 tone of COBALT BLUE mixed with a trifle of 
 CARMINE LAKE. For white flowers of this 
 kind you can use the PAYNES GREY very 
 watery. Apply the details with a small brush 
 and use this brush always full of color. 
 
 Sweet Peas (Oil Painting) 
 
 For the painting of these pink flowers in oil 
 painting you may use CARMINE LAKE mixed 
 with a trifle of VERMILION and plain WHITE. 
 For lavender flowers you may add to these three 
 colors a small quantity of COBALT BLUE or 
 NEW BLUE. For white flowers you may use 
 plain WHITE and a trifle of COBALT BLUE 
 with EMERALD GREEN. 
 
 Always apply dark shadows first and paint 
 the high lights while the color is still fresh. 
 Daffodils and Yellow Daisies (China Painting) 
 
 Yellow flowers should be painted in china with 
 BROWN GREEN applying the shadows alone in 
 the first firing. We mention two kinds of 
 flowers such as daffodils and yellow daisies, but 
 every yellow flower should be painted with the 
 same method and colors as used for these two- 
 In painting daisies you should use a small pointed 
 brush and apply the small lines that you will 
 find in the petals. Leave plenty of high lights 
 and on the second firing you can wash over the 
 whole flower with a thin coating of LEMON 
 YELLOW. 
 
 64
 
 The center of the daffodil is in ORANGE 
 YELLOW and also the center of the daisies, 
 though this latter sometimes has a trifle of 
 YELLOW GREEN mixed with it. 
 
 Daffodils have generally six petals and these 
 petals should be painted properly, and on the 
 contrary daisies have no certain accurate number 
 of petals. 
 
 Daffodils and Yellow Daisies 
 (Water Color Painting) 
 
 In water color painting you may use RAW 
 SIENNA for the shadows of the daffodils and 
 LIGHT CADMIUM for the lighter tones. The 
 center of the daffodils are in dark Cadmium 
 YELLOW and the same color can be used also 
 in yellow daisies, only in this case the center is 
 more GREEN and for this you may add a trifle 
 of EMERALD GREEN to the YELLOW. Paint 
 these flowers freely and apply little touches with 
 a small brush. 
 Daffodils and Yellow Daisies (Oil Painting) 
 
 In oil painting you may use Light CHROME 
 YELLOW for the light shades and CADMIUM 
 YELLOW mixed with RAW SIENNA and 
 WHITE for the shadows. These colors are use- 
 ful for both daffodils and yellow daisies. 
 
 In the center you may use DARK CADMIUM 
 YELLOW for the daffodils and the same color 
 made a little more GREEN for the center of the 
 daisies. Keep the high lights the last and ap- 
 ply your details with a small brush. 
 
 White Daisies and Easter Lilies 
 (China Painting) 
 
 White daisies are generally painted with a 
 dark background as such a background will car- 
 ry out the white effect of the flower. In fact, 
 
 65
 
 in every white flower a certain background of 
 medium strength w r ill be necessary and I would 
 advise a background in GREENS or in dark 
 GREYS. DEEP BLUE GREEN well padded 
 will make also a good background for White 
 flowers. I would advise you to draw the white 
 daisies showing the size and shape of the petals 
 and then fill in the background. Your flower 
 will show nice and white. 
 
 It is advisable to use a small lining brush for 
 some details in the daisies and for the delicate 
 shadows you may use COPENHAGEN GREY. 
 The center is in EGG YELLOW shaded with a 
 trifle of BROWN GREEN. Do not apply too 
 much color in the shading of the daisies because 
 the more the color the less natural they will 
 look. 
 
 The same color used for white daisies can be 
 used on the Easter Lily and perhaps with all the 
 white flowers. These lilies have a delicate touch 
 of YELLOW in the center and you can apply 
 this tint on the second firing when all the shad- 
 ows are burned in. The few small seeds in the 
 center are in EGG YELLOW or YELLOW 
 BROWN. These lilies should also have a dark 
 background and DEEP BLUE GREEN will be a 
 very pretty combination. 
 
 White Daisies and Easter Lilies (Water Color 
 Painting) 
 
 As I mentioned in the china painting, such a 
 white flower as daisies and lilies should have a 
 certain background so as to carry out the white 
 flowers. For the shading of the daisies and lilies 
 you may use a very watery wash of PAYNES 
 GREY mixed with a trifle of EMERALD GREEN 
 
 The center of the daisies are in INDIAN 
 
 66
 
 YELLOW and also the seeds of the Easter lilies. 
 Delicate touches of LIGHT CHROME YELLOW 
 in the center of the lilies will be very appropri- 
 ate. Do not over work the white flowers and 
 leave plenty of high lights lest they look black 
 and heavy. 
 
 White Daisies and Easter Lilies (Oil Painting) 
 
 The very best way to paint white flowers in 
 oil painting is to have a general color in the 
 canvas say of GREY or GREEN and apply the 
 white daisies or lilies with plenty of FLAKE 
 WHITE rigfit over the background. See that 
 every touch counts for one petal of the daisies 
 or for every petal of the lilies as the handling 
 of the brush is a very strong help in portraying 
 the shapes of the different flowers. 
 
 The center of the daisies is in DARK CAD- 
 MIUM YELLOW shaded with RAW SIENNA 
 and this will also be used for the seeds in the 
 lilies. The best color for the shading of white 
 flowers will be FLAKE WHITE and a very trifle 
 of IVORY BLACK and BANDING BLUE. Any 
 transparency can be made by using WHITE in 
 a trifle of LIGHT YELLOW of any kind. 
 Morning Glories (China Painting) 
 
 A beautiful purple color seen in the morning 
 glories when they are in full bloom can be made 
 with VIOLET COLOR 2 and the shadows with 
 the addition of PURPLE BLACK. ROYAL 
 PURPLE will make also a beautiful color and 
 RUBY PURPLE 2 mixed with BANDING BLUE 
 will give you many different shades which can 
 be changed accordingly, only by adding more or 
 less BLUE. 
 
 There are also pink morning glories and these 
 can be painted with SWEET PEA PINK and 
 
 67
 
 shaded with touches of AMERICAN BEAUTY 
 COLOR. The strong lines dividing the flower 
 in five parts are nearly always in RUBY PUR- 
 PLE 2. In the lavendar shades you may use 
 the same VIOLET COLOR only thinner and the 
 white flowers of this kind can be painted with 
 COPENHAGEN GREY. 
 
 The five partitions are always made with 
 either RED or PURPLE COLOR. Apply the 
 shadow in the center of the flower and at one 
 side only so as to make a cup like effect. 
 Morning Glories (Water Color Painting) 
 
 In water color painting you may make a beau- 
 tiful VIOLET COLOR by mixing COBALT 
 BLUE and CARMINE LAKE and by adding 
 more or less of the BLUE you will make a dark- 
 er or lighter PURPLE. The five partitions of 
 the flower are generally in CARMINE LAKE 
 and there is also a delicate tone in the center of 
 the flower which can be made by using a small 
 quantity of any light YELLOW that you have 
 at hand. 
 
 The lavendar flowers of this kind are painted 
 with less CARMINE and more BLUE, and with 
 a more watery color. For pink morning glories 
 you can use this CARMINE LAKE very deli- 
 cate and thin. For white flowers you may use 
 PAYNES GREY and the five partitions will be 
 in either CARMINE or VIOLET COLOR. Be 
 careful in making the right number of partitions 
 in the flow y er w r hich should always be five. 
 
 Morning Glories (Oil Painting) 
 
 In oil painting also you can make a very beau- 
 tiful VIOLET COLOR by using COBALT BLUE 
 mixed with CARMINE LAKE or CRIMSON 
 LAKE. By adding to these two colors some 
 
 68
 
 INK STUDIES BY D. M. CAMPANA
 
 WHITE the color will be still better and lighter. 
 For pink morning glories you may use CAR- 
 MINE LAKE and plenty of WHITE and for 
 white morning glories you may use FLAKE 
 WHITE with a small quantity of IVORY BLACK 
 and COBALT BLUE. The delicate tones in the 
 center may be made with any YELLOW at hand. 
 The addition of PRUSSIAN BLUE to any of 
 the given colors will make a very dark rich 
 tone. 
 
 Nasturtiums (China Painting-) (See page 27) 
 
 There are a great number of different shades 
 in the Nasturtiums, some of them being YEL- 
 LOW, some being ORANGE, some being RED, 
 some being PURPLE and some being nearly 
 BLACK. Notice that these flowers have five 
 petals and be certain to paint the proper number 
 of them. There are in every petal a number of 
 touches in a dark tone on the center of the 
 petals, toward the attachment. These should be 
 applied at first by using FINISHED BROWN or 
 BLACK. Apply now the shadows of the flowers 
 by using BROWN GREEN for the yellow flowers. 
 VIOLET of IRON for the red flowers and DARK 
 FINISHING BROWN for the other dark ones. 
 
 The center of the flower is always in NEU- 
 TRAL YELLOW or BROWN GREEN mixed 
 with EGG YELLOW. On the second firing you 
 may cover the whole flower with ALBERT YEL- 
 LOW for the yellow flowers, YELLOW RED No. 
 2 for the red flowers and RUBY PURPLE No. 
 2 mixed with a trifle of HAIR BLACK for the 
 other dark flowers. Of course you may add a 
 number of different shades if you think they 
 are necessary. 
 
 70
 
 .Nasturtiums fWater Color Painting) 
 
 In water color painting for the yellow nastur- 
 tiums you can use RAW SIENNA for the shad- 
 ing and LIGHT CADMIUM YELLOW for the 
 high lights. For the red nasturtiums you may 
 use BURNT SIENNA for the shadows and 
 VERMILION for the high lights. For the dark 
 flowers you may use VAN DYKE'S BROWN for 
 the shadows and CRIMSON LAKE for the high 
 lights. 
 
 The dark spots at the center of the flowers are 
 always in IVORY BLACK or VAN DYKE'S 
 BROWN. 
 
 Nasturtiums (Oil Painting) 
 
 In oil painting you may use RAW SIENNA 
 for the shading and LIGHT CHROME YELLOW 
 for the yellow nasturtiums. BURNT SIENNA 
 for the red flowers perhaps adding to the latter 
 color a trifle of VERMILION. For the darkest 
 flowers you may use IVORY BLACK for the 
 shadows and BURNT SIENNA for the high 
 lights. 
 
 The dark spots at the center of the petal are 
 in IVORY BLACK or VAN DYKE'S BROWN. 
 To all these colors of course you can add a 
 number of other shades according to your effect 
 or to the composition of the picture. 
 Lilacs (China Painting) 
 
 This flower is in a lavender shade and varies 
 considerably. Sometimes you find it very deli- 
 cate and faded and other times more purplish 
 and strong- The weather and also the age of 
 the flower influences its color as when it is seve- 
 ral days old it will become a more faded and 
 less brilliant tone. 
 
 Lilac comprises a large number of small flowers 
 
 71
 
 one next to the other and rather crowded in. I 
 advise you to make these little flowers with one 
 petal for every touch and leaving a small round 
 space in the center. 
 
 If you will re-read the chapter on Forget-Me- 
 Nots and follow the same method for the paint- 
 ing of lilacs, you will find this to give very satis- 
 factory results. Every one of the little flowers 
 have four petals and this fact must be well con- 
 sidered, for if you make more petals than is 
 natural with the flowers, the decoration will be 
 faulty. 
 
 On the second firing you can apply the shadows 
 of the flowers and to make the effect more 
 proper you may shade only two of the four 
 petals and the flower will acquire a cup like 
 form which is the proper style of the lilacs. It 
 is proper to leave a small space here and there 
 between these little flow 7 ers as these small spaces 
 will lighten the effect. 
 
 You may use VIOLET COLOR No. 2 for the 
 painting of lilacs on china and if this color might 
 prove a little too blue, you may add a small 
 quantity of ROSE COLOR or SWEET PEA 
 PINK or if you do not have them, use PEACH 
 BLOSSOM or any such color you may have at 
 hand. In fact, by using any of these pinks with 
 the addition of a light blue such as TUR- 
 QUOISE BLUE or SEVRES BLUE, you can 
 make a very appropriate lilac shade using more 
 or less blue according to the proportion of pink 
 used to your blue. 
 
 Lilacs (Water Color Painting,) 
 
 In water color painting you can make a large 
 variety of lavender tints for lilac by using CO- 
 BALT BLUE with CARMINE LAKE and the 
 
 72
 
 more the CARMINE the warmer will be the tone. 
 If you do not have COBALT BLUE you may 
 use NEW BLUE or even ULTRAMARINE 
 BLUE. If you do not have CARMINE LAKE 
 you can use CRIMSON LAKE, in fact, you 
 could use any of the lakes and always produce a 
 good color for the flowers. 
 
 The best method of painting this subject in 
 water colors is to apply one touch for every 
 petal and begin from the upper part and come 
 down quickly with a full brush until you have 
 the group of lilacs complete. The small touch 
 in the center can be applied on the end when 
 the general color is complete. You should be 
 careful in leaving out a considerable number of 
 small high lights which will suggest other petals 
 and will make the effect easy and delicate. 
 
 Lilacs (Oil Painting) 
 
 In oil painting like water color painting you 
 can make a very pretty shade for lilac flowers 
 by using COBALT BLUE or NEW BLUE with 
 CARMINE LAKE or CRIMSON LAKE or in 
 fact with any lake you have at hand. Apply the 
 petals with a touch for every one and use a 
 rather dark color reserving the light touches for 
 the very end of the painting. Of course, all 
 these light touches are made by mixing WHITE 
 with the other two colors mentioned before and 
 the miore WHITE the lighter will be the tone. 
 
 These flowers give a good opportunity for a 
 little display of stroke effect in oil painting as 
 there are so many small petals and these petals 
 are so crowded one into the other that you can 
 work freely and use your brush in almost any 
 manner. 
 
 73
 
 Wistaria (China Painting) 
 
 The general effect of wistaria is in a lavender 
 delicate color very similar to the lilac. In fact, 
 the color that you use for the lilac could be very 
 properly used for the wistaria and you will 
 notice that this flower has one very large, petal 
 at the upper part and another one curled up, 
 hanging from the upper petal. This second 
 petal is generally more colored than the other 
 one is, it is a trifle more purple than the other 
 petal. 
 
 I would suggest that you use VIOLET COLOR 
 No. 2 mixed with about one third of ROSE 
 COLOR or any other pink if the ROSE COLOR 
 is not at hand and if you have no VIOLET 
 COLOR you can mix TURQUOISE BLUE or 
 BANDING BLUE with about three fourths of 
 ROSE COLOR. These mixtures will give you a 
 pretty combination. In the center of the upper 
 petal there is a very delicate touch of a color 
 which you can make by using a very small 
 quantity of LEMON YELLOW. 
 
 Wistaria (Water Color Painting) 
 
 If you read the instructions on lilac painting 
 and you follow these suggestions for the mixing 
 of colors you will find these shades to be very 
 appropriate also for the wistaria. Apply the 
 color with a large brush and have this color very 
 watery, allowing it to run freely because, with 
 the water colors, when they run down from your 
 brush freely they will make a far better touch. 
 If you go over again and again, and tinker with 
 the tint, no good result will be obtained. 
 
 The color I would suggest for this flower is 
 a mixture of COBALT BLUE and CARMINE 
 LAKE or any other you have at hand. The more 
 
 74
 
 GRAPE SKETCH
 
 of the blue the darker will be the shade. You 
 may use your own judgment so that you make 
 the effect desired. 
 
 Wistaria (Oil Painting) 
 
 For oil painting you can also use COBALT 
 BLUE mixed with a good deal of WHITE and a 
 trifle of CARMINE LAKE or any other lake 
 that you may have at hand- If you have a 
 VIOLET COLOR already made up in tubes such 
 as MAUVE you may use this with the addition 
 of WHITE otherwise you can mix these colors 
 according to the dark or light tint that you wish 
 to make. Apply the dark tones covering the 
 whole flower and you apply afterwards the light 
 parts until the flower is comjpleted. 
 
 Geranium ("China Painting) 
 
 This flower is found in a variety of different 
 shades and the most popular color is the red and 
 purple, these colors being seen in almost every 
 garden and also in a good many houses. There 
 is also a white geranium and a pink geranium, but 
 I will give here the colors for the most popular 
 of all and would suggest for the red flowers, the 
 use of YELLOW RED and if this color is not at 
 hand you may use CARNATION. For the pink 
 geranium I would advise you to use AMERICAN 
 BEAUTY COLOR which is a strong pink and for 
 the dark purple geranium I would advise you to 
 use RUBY PURPLE No. 2. 
 
 These colors can be used thin for the light parts 
 and thick for the dark shadows, though on the 
 red geranium a good dark shadow can be done 
 with VIOLET of IRON. You will notice how 
 these flowers come in clusters of five, six or more 
 and they have an attachment on the back joining 
 together in one single place at the stem. 
 
 76
 
 Geranium (Water Color Painting) 
 
 In .water color painting for the red geranium 
 you may use the FRENCH VERMILION shaded 
 with a trifle of CRIMSON LAKE. For the pink 
 geranium you can use GERANIUM LAKE which 
 is a very bright color, and you may shade this 
 color with a trifle of CARMINE LAKE. For the 
 very dark purple flowers you may use CRIMSON 
 LAKE shaded with a trifle of IVORY BLACK. 
 Have plenty of color in your brush so that your 
 liquid color will run down and make a smooth, 
 even touch. 
 
 Notice that in the center of the flower there is 
 a small deep cavity which of course you must 
 show and put in at the end of the painting. 
 
 Geranium (Oil Painting) 
 
 In oil painting you can use the VERMILION 
 RED for the red geranium shaded with a trifle of 
 CRIMSON LAKE. For the pink geranium you 
 may use the VERMILION mixed with FLAKE 
 WHITE more or less of the WHITE according to 
 the deepness of the shade desired. For the dark 
 purple geraniums you can use CRIMSON LAKE 
 perhaps mixed with a trifle of IVORY BLACK. 
 
 In painting geraniums be certain and follow a 
 certain rule regarding the quantity of petals for 
 every flower as this is a very important matter 
 in all paintings that you will undertake. 
 
 Grape Painting (China Painting) 
 
 Grapes are of varied colors as for instance, 
 Purp'e grapes, White grapes, Green grapes and 
 Red grapes. Of course there is no exact color 
 to be used for all grapes, but a line of different 
 effects and different colors to be used for the 
 painting of these fruits will be a very good help 
 to the students. Before all, have a good drawing 
 of your grapes and see that the lines should be 
 be simple and round. Of course, there are 
 
 77
 
 grapes that are oval but you will never find 
 grapes with angular or square shapes and if 
 you paint them with a broken edge they will 
 always look bad and poor. 
 
 I would advise students to have a good draw- 
 ing of the grapes before the start to apply the 
 color and to see that the upper grapes be larger 
 in size than the lower grapes toward the end of 
 the bunch. This fruit is transparent the liquid 
 inside allowing the light to shine through and if 
 you look at it carefully you will always see a 
 ring of reflected light at the lower edge of the 
 individual grapes. It is necessary that you 
 should leave this reflection because it is one of 
 the important points that will show the charac- 
 ter of the grapes. 
 
 A good color to use for dark grapes in china 
 painting will be the PURPLE BLACK mixed 
 with either a trifle of BANDING BLUE or better 
 yet with VIOLET COLOR. Apply the shadow on 
 one side of every individual grape, this shadow 
 to be in the form of a half moon, and leave the 
 other part of the grape plain WHITE. Remem- 
 ber that there is a little transparency below the 
 shadows which should now be left WHITE. 
 
 On the second firing you may cover the whole 
 grape with VIOLET COLOR shaded down with 
 a trifle of PURPLE BLACK. Have this coating 
 rather delicate and apply your transparencies 
 by using RUBY PURPLE rather thin. Cut out 
 the clean high lights in the center of all grapes 
 and apply your sharp details with a small brush 
 using PURPLE BLACK pure. On light grapes 
 which is generally called Green grapes I would 
 advise you to put your shadows over every indi- 
 
 78
 
 vidual grape with a thin touch of OLIVE 
 GREEN leaving the light part plain WHITE. 
 
 On the second firing you can wash all over 
 the grapes a very delicate shade of MOSS 
 GREEN covering all of the grapes, the trans- 
 parencies to be made in EGG YELLOW. Cut 
 out the high lights in the center of every grape. 
 Apply your details with a trifle of SHADING 
 GREEN not very dark. 
 
 For red grapes I would advise you to use 
 VIOLET of IRON applying the shadows with 
 this color but not heavy. Leave the lights clean 
 as these can be applied on the second firing with 
 an all over tinting of a very thin RUBY PUR- 
 PLE No. 2 mixed with a trifle of DARK POM- 
 PADOUR RED. The transparencies can be 
 painted in YELLOW RED. Cut out the high 
 lights and retouch small details with VIOLET 
 of IRON. 
 
 The stems are generally painted in MOSS 
 GREEN. 
 
 Grape Painting (Water Color Painting) 
 
 In water color painting it is necessary to use 
 a full brush and start to paint the top grapes 
 coming down gradually to the lower one. Al- 
 ways allow for the lights and high lights be- 
 cause from these depends the lightness and bril- 
 iancy of the grapes. 
 
 The shadows of the light grapes should be 
 done with RAW SIENNA shaded down with a 
 little EMERALD GREEN. The reflections are 
 in LIGHT CADMIUM YELLOW and the general 
 tint of grapes are in a very thin wash of EME- 
 RALD GREEN tinted down with a trifle of 
 COBALT BLUE. This delicate shade is very 
 
 79
 
 cool and pretty and you will always find it in 
 light grapes. 
 
 No doubt you have left out the high lights 
 in the center of the grapes as these are left 
 plain WHITE. For dark grapes use COBALT 
 BLUE mixed with a trifle of CARMINE for the 
 light parts and for the shadows use CRIMSON 
 LAKE mixed with COBALT BLUE rather 
 strong to make a good dark shadow. For the 
 transparencies use CARMINE LAKE. 
 
 For Red grapes use CRIMSON LAKE mixed 
 with a little PAYNES GREY for the shadows. 
 Use this color not very dark. For the light 
 shades use a trifle of VERMILION toned down 
 with a small quantity of COBALT BLUE. The 
 transparencies are in VERMILION. Always 
 give the dark details on the end and treat the 
 grapes very simply and quickly. 
 
 The stems of the grapes are in INDIAN YEL- 
 LOW mixed with a trifle of any GREEN that 
 you may have at hand. 
 
 Grape Painting (Oil Painting) 
 
 In oil painting purple grapes are painted with 
 IVORY BLACK and a touch of CRIMSON LAKE 
 for the dark shadows. The light parts are in 
 COBALT BLUE, WHITE and a trifle of BLACK 
 making it a delicate gray. The transparencies 
 are in CRIMSON LAKE mixed with WHITE. 
 
 Red grapes are painted with CRIMSON LAKE, 
 a very small trifle of IVORY BLACK, and 
 WHITE for the shadows. The light parts are 
 painted in CARMINE LAKE with WHITE, and 
 the transparencies with VERMILION RED. The 
 high lights are always applied on the end with 
 a touch of WHITE. Of course, these are colors 
 
 80
 
 dealing in general but you may use your judg- 
 ment in adding or altering these shades accord- 
 ing to your needs. 
 
 The stems of the grapes are in YELLOW 
 mixed with a trifle of RAW SIENNA. 
 
 Blackberries (China Painting) (See page 16) 
 
 Blackberries are painted with a dark color such 
 as BEST BLACK but still better would be the 
 PURPLE BLACK mixed with BANDING BLUE 
 in equal proportions, perhaps adding a trifle of 
 any purple to warm up the tint. Cut out few high 
 lights in the center of the berry and refire. Of 
 course, if you see that you need a little more de- 
 tails you can supply this before you fire it the 
 second time. Do not apply the BLACK too heavy 
 or lumpy because lumpy colors are liable to 
 chip off. 
 
 Blackberries (Water Color Painting) 
 
 Paint blackberries with PAYNES GREY and 
 apply the dark shadows in a ring like shape. Start 
 from the center and add more and more rings but 
 see that there is much shadows on one side and 
 very little on the other. When these shadows are 
 complete and the berries are of the proper shape 
 you may wash over a quick touch of COBALT 
 BLUE mixed with a trifle of CRIMSON LAKE 
 and leave out a number of high lights here and 
 there to make the fruits very light and crisp. 
 Some dark touches can be made with IVORY 
 BLACK. 
 
 Blackberries (Oil Painting) 
 
 For oil painting you can paint blackberries suc- 
 cessfully by using IVORY BLACK perhaps mixed 
 with a trifle of COBALT BLUE for the shadows 
 and the same color with the addition of some 
 
 81
 
 WHITE for the light parts. In the end you may 
 apply some touches of WHITE for high lights. 
 If there is any reddish shade to be applied, as 
 for instance in the berries not yet ripe you may 
 use more of the CRIMSON LAKE and WHITE. 
 
 Raspberries (China Painting) 
 
 In china painting you may paint raspberries in 
 the very same method as you paint blackberries, 
 and 1 would advise you to read the chapter on 
 blackberries. The colors of course must be changed 
 and you may use DARK POMPADOUR for the 
 shadows and if this color is not at hand you may 
 use BLOOD RED. Apply the same color, only 
 much thinner for the light parts and have high 
 lights nice and clear. 
 
 Raspberries (Oil Painting) 
 
 The CARMINE LAKE or CRIMSON LAKE 
 mixed with FLAKE WHITE will give the proper 
 color for red raspberries. Use more of the PUR- 
 PLE for the dark parts and more of the WHITE 
 for the light parts. The high lights are in plain, 
 clean WHITE. 
 
 Strawberries (China Painting) 
 
 Strawberries are painted on china with DARK 
 POMPADOUR RED for the shadows and for the 
 light parts you may use the same color only very 
 much thinner. The RED BLOOD No. 2 is also a 
 good color for this fruit. 
 
 Notice that there are many small high lights 
 on this berry which in the beginning must be left 
 white and which will be covered on the second 
 firing. Toward the point, the strawberries are a 
 trifle more YELLOW, this shade can be produced 
 
 82
 
 with a very small quantity of NEUTRAL YEL- 
 LOW mixed with MOSS GREEN. 
 
 Strawberries ("Water Color Painting) 
 
 For this fruit use CRIMSON LAKE mixed with 
 VERMILION and use it dark on the dark shad- 
 ows and much thinner on the light parts. Be cer- 
 tain to leave out some of the high lights and if 
 there is a light color at this point of the berries 
 you may use a touch of INDIAN YELLOW mixed 
 with any light GREEN at hand. 
 
 Strawberries (Oil Painting) 
 
 CRIMSON LAKE and WHITE with the addi- 
 tion of a trifle of VERMILION will be a good 
 color for strawberries in oil painting. Of course 
 some of the berries may be a trifle more or less 
 ripe and the students should change the propor- 
 tion of the colors so as to make the proper effect. 
 
 Currants (China Painting) 
 
 This little fruit is painted very much like 
 grapes only in a smaller size and by using the 
 YELLOW RED No. 2. Use this color on 
 one side in a round crescent like touch and 
 the lighter shade on the light part can 
 be applied with the same color only much thinner. 
 
 On the second firing if you need a little darker 
 details you may apply this with DARK POMPA- 
 DOUR RED. The small point on the lower part 
 of the currant can be made with SHADING 
 GREEN or any dark color. 
 
 Currants (Water Color Painting) 
 
 In water color painting you may use FRENCH 
 VERMILION for the shading of the currants and 
 in certain parts you may add to this color a trifle 
 
 83
 
 of CARMINE LAKE. Leave some high lights 
 plain white and the small point at the lower parts 
 can be made in PAYNES GREY. 
 
 Currants (Oil Painting) 
 
 In oil painting also you may use the VERMIL- 
 ION and if necessary a trifle of BURNT SIENNA. 
 If necessary add a trifle of White to your lighter 
 parts and the small points at the bottom of the 
 fruit is in BLACK or any dark color. 
 
 Apples and Pears (China Painting,) 
 
 Apples and pears have many different colors 
 but the kind more used for decorative work in 
 painting, are generally the red apples and also a 
 kind of partly red pear. For the RED parts of 
 apples and pears, you may use YELLOW RED 
 No. 2, but for the dark red you can also use VIO- 
 LET of IRON, also light POMPADOUR RED. You 
 may shade these red tones according to your need. 
 The yellow parts of the apples and pears are paint- 
 ed with a trifle of ALBERT YELLOW and the 
 GREEN parts with BROWN GREEN. You may 
 leave sharp high lights on the light part of the 
 fruit and on the center of the apple, right op- 
 posite, you can paint the small touches of SHAD- 
 ING GREEN. Of course for apples that are more 
 green, you may use APPLE GREEN tone, while 
 on the contrary you can use more RED for the 
 red apples and pears. 
 
 Complete catalog of all kinds of artist's mater- 
 ials will be sent free of charge by writing this 
 author. 
 
 84
 
 Apples and Pears (Water Color Painting) 
 
 The red tones on the red parts of the apples and 
 pears are made with VERMILION, while BURNT 
 SIENNA is used for the very dark parts. Some- 
 times a trifle of CARMINE LAKE can be added to 
 the VERMILION. The yellowish tones can be 
 made with INDIAN YELLOW pure. Leave sharp 
 high lights white, and for dark touches use any 
 dark GREEN that you may have at hand. 
 
 Apples and Pears (Oil Painting) 
 
 In oil painting you may paint apples and pears 
 by using a good deal of WHITE mixed with DARK 
 CHROME YELLOW for the yellow tones. Use 
 VERMILION and CARMINE LAKE for the red 
 parts and DARK CHROME GREEN mixed with 
 a light YELLOW for the greenish parts. In this 
 case I would advise you to apply the light parts 
 first and add the middle and dark tones in the 
 end. 
 
 Plums (China Painting) 
 
 A good color for plums in china painting would 
 be the PURPLE BLACK for the dark tones while 
 for the lighter parts DARK VIOLET COLOR No. 
 2 mixed with a trifle of PURPLE BLACK would 
 be good. Leave a certain number of high lights 
 
 85
 
 on one side of the fruit and apply the colors 
 smoothly to make it look clean and pretty. Notice 
 that in plums there is a certain deep line in the 
 center of the fruit and you must leave this deep- 
 ness very clear and sharp. 
 
 Plums (Water Color Painting) 
 
 In water color painting plums can be painted by 
 mixing PAYNES GREY with a trifle of COBALT 
 BLUE. Use these colors darker on one side of the 
 fruit and very watery on the light parts and leave 
 a certain high light at one side. 
 
 Plums (Oil Painting) 
 
 In oil painting you may use IVORY BLACK 
 and COBALT BLUE for the dark parts of the 
 plums and for the light parts you may add to 
 these colors a certain amount of WHITE and per- 
 haps a very small quantity of CARMINE. 
 
 i I tf r A ** 
 
 Oranges and Lemons (China Painting) 
 
 Please notice that both oranges and lemons have 
 an uneven surface and in painting them you must 
 endeavor to show this peculiar roughness of their 
 skin. In painting on china, apply the shadows of 
 the oranges with FLESH SHADOW or if this 
 color is not at hand with BROWN GREEN mixed 
 with a trifle of YELLOW BROWN. 
 
 The shadows of lemons is in BROWN GREEN 
 mixed with a trifle of LEMON YELLOW. On the 
 second firing you cover the whole orange with OH- 
 ANGE YELLOW and the lemon with LEMON 
 YELLOW. If this latter is a trifle GREEN, you 
 may add to the YELLOW a very small quantity 
 of APPLE GREEN. 
 
 Oranges and Lemons (Water Color Painting) 
 
 In water color painting you may use DARK 
 CADMIUM YELLOW for the general shade of 
 
 86
 
 the oranges and the shadows can be applied with 
 the addition of RAW SIENNA. For the general 
 tint of the lemons, use light CADMIUM YEL- 
 LOW and for the shadings use RAW SIENNA 
 mixed with a trifle of EMERALD GREEN. 
 
 Oranges and Lemons (Oil Painting,) 
 
 In oil painting oranges are painted with OR- 
 ANGE YELLOW for the general shade and for 
 the darker parts you may add RAW SIENNA. 
 For the general tint of the lemons you can use 
 LIGHT CHROME YELLOW or perhaps any light 
 YELLOW and for the shadows you may use RAW 
 SIENNA mixed with a very trifle of EMERALD 
 GREEN. Of course, in oil painting there is al- 
 ways the addition of WHITE which you must use 
 according to your need- 
 
 Nuts (China Painting) 
 
 The color of nuts is generally a light delicate 
 BROWN tint and walnuts, hazemuts, hicory 
 nuts, almonds, acorns and any hard shelled nuts 
 can be painted for the shadow in AUBURN 
 BROWN or HAIR BROWN and the light parts 
 with a general tint of a very thin MEISSEN 
 BROWN. Chestnuts, for instance, are much dark- 
 er in color and for these you can use CHESTNUT 
 BROWN dark or light according to your need. 
 
 Peanuts are a trifle more GREY and these can 
 be painted with the addition of COPENHAGEN 
 GREY to the MEISSEN BROWN. Always apply 
 the dark shadows at first and the light tones on 
 the second firing. 
 
 Nuts (Water Color Painting) 
 
 In water color painting you may use the VAN 
 DYKE BROWN for the dark shadows in the diff- 
 erent nuts. I would suggest, if this color is too 
 dark, that you may add RAW SIENNA to the 
 former color. For the light tints you should use 
 RAW SIENNA very thin mixed with a trifle of 
 
 87
 
 BURNT SIENNA. Of course, some of the nuts 
 are darker in color than others and you should 
 study this matter carefully and add more or less 
 of these colors until you obtain the proper shade. 
 
 Nuts (Oil Painting) 
 
 In oil painting you may use VAN DYKE 
 BROWN or BONE BROWN mixed with a trifle 
 of ORANGE YELLOW. For the light parts add 
 a certain quantity of WHITE and less of the 
 BROWN, also more of the ORANGE. If you do 
 not have the ORANGE use any strong bright 
 YELLOW that you may have at hand. In any 
 case be certain to study the drawing of your fruit 
 so that people may understand its character at 
 once and know which fruit you wanted to re- 
 produce. 
 
 Cherries (China Painting) 
 
 There are different kinds of cherries, some be- 
 ing lighter and others rather dark and for the 
 light red cherries I would advise you to use YEL- 
 LOW RED or if not at hand you may use CAR- 
 NATION RED. On the dark parts of these red 
 cherries you can use a trifle of DARK POMPA- 
 DOUR RED. 
 
 Notice that cherries have a glossy surface and 
 this gives the fruit quite a strong high light which 
 you should endeavor to keep in plain WHITE 
 china. 
 
 The dark cherries are painted with PURPLE 
 BLACK mixed with a trifle of BLOOD RED or 
 BLOOD RED No. 2. Some of the cherries have 
 a purplish hue and for these you can mix a 
 small quantity of RUBY or PURPLE BLACK 
 itself. 
 
 For the very light yellow cherries you could use 
 BROWN GREEN mixed with a touch of YEL- 
 LOW BROWN for the shadows and for the light 
 parts IMPERIAL IVORY mixed with a trifle of
 
 YELLOW BROWN. As I said in the beginning 
 of this chapter all cherries have strong high lights 
 on one side which you should leave out in plain 
 white china. 
 
 Cherries fWater Color Painting) 
 
 In water color painting you can use VERMIL- 
 ION RED for the red cherries mixed with CAR- 
 MINE LAKE for the dark shadows, while for the 
 light parts you can keep the VERMILION RED 
 pure. 
 
 The light yellow cherries will be painted with 
 RAW SIENNA and LIGHT CADMIUM mixed for 
 the dark parts and for the light parts the LIGHT 
 CADMIUM YELLOW very thin and clear. Of 
 course, if you have not this special YELLOW you 
 can use almost any light YELLOW at hand. 
 
 For dark cherries, you can use PAYNES GREY 
 mixed with a trifle of CRIMSON LAKE or CAR- 
 MINE LAKE. Use more of the PAYNES GREY 
 on the dark parts. Do not forget to leave the high 
 lights plain white, for if you cover your high 
 lights, you will not be able to make successful 
 high lights afterwards. 
 
 Cherries (Oil Painting) 
 
 In oil painting you can use VERMILION RED 
 for the red cherries with the addition of a trifle 
 of BURNT SIENNA on the dark parts. The other 
 dark cherries are painted with IVORY BLACK 
 mixed with a trifle of either CRIMSON LAKE or 
 CARMINE LAKE and the very light yellow cher- 
 ries are painted with any LIGHT YELLOW that 
 you may have mixed with a trifle of WHITE on 
 the light parts and the same YELLOW mixed 
 with RAW SIENNA for the shadows. 
 
 In oil painting you can apply the high lights 
 with WHITE at the end of the lesson. 
 
 Peaches (China Painting) 
 
 In china painting peaches are painted with a 
 
 89
 
 general light, delicate tint of IMPERIAL IVORY 
 for the light parts and on the dark parts of this 
 fruit, you may use BROWN GREEN mixed with a 
 trifle of YELLOW BROWN. In the center of the 
 peaches you must have that gray velvety effect 
 by using a small quantity of any VIOLET COLOR 
 that you may have at hand. Of course, this shade 
 must be a bluish tone and you should apply this 
 on the first firing. 
 
 On the second firing you can cover it with a 
 delicate tint of the IMPERIAL IVORY as I have 
 suggested before so as to make the tints more 
 subdue and pretty. If some of the peaches are 
 a little more GREEN or a little more RED you 
 can add a little of the APPLE GREEN or of the 
 PEACH BLOSSOM COLOR according to the ef- 
 fect of the fruit and of the full decoration. I have 
 mentioned several times that colors of fruits and 
 flowers must very frequently be altered accord- 
 ing to the general decoration of the china or pic- 
 ture which you are painting, as for instance, if 
 your background is very dark or very bright you 
 must paint your subject according to that back- 
 ground, while if the background is light and del- 
 icate the fruit and flowers should also be painted 
 to harmonize with that special background. 
 
 Students, therefore, should use their own judg- 
 ment in all cases and though I give here correct 
 effects for the different subjects, they should al- 
 so study and attempt to produce something of 
 their own, as this is the best method for learning. 
 
 Peaches (Water Color Painting) 
 
 In water color painting you may use, for the 
 light tones of the peaches, a thin shading of 
 DARK CADMIUM YELLOW and for the pretty 
 GREY tones in the center you may add a trifle 
 of PAYNES GREY mixed with a small trifle of 
 CARMINE. The dark shadows can be made with 
 RAW SIENNA. You may alter these three shades 
 if you wish to make the fruit less or more colored 
 accordin g to your picture. 
 
 90
 
 There is no high lights on peaches as this fruit 
 is velvety at the surface and rather dull. Perhaps 
 a little touch of CARMINE very light here and 
 there will help the effect. 
 
 Peaches (Oil Painting) 
 
 In oil painting you may apply at first the dark 
 shadows in RAW SIENNA and you may come to- 
 ward the center with a mixture of WHITE CO- 
 BALT BLUE and a very little CARMINE so as 
 to make a neutral shade looking a little violet in 
 tone. Toward the light parts you could use 
 WHITE with RAW SIENNA and the addition 
 of ORANGE YELLOW or DARK CADMIUM 
 YELLOW. 
 
 Change the colors a trifle according to your pic- 
 ture and background. 
 
 Gooseberry (China Painting) 
 
 In china painting the green gooseberries are 
 painted with a very delicate thin tinting of OLIVE 
 GREEN. You will notice that this fruit has some 
 long lines crossing over the fruit and these small 
 lines can be also made with OLIVE GREEN us- 
 ing this color with a very small lining brush. You 
 may use the same color for the shadows and for 
 the lighter parts. 
 
 If some of the berries have a pinkish tone, you 
 can use a very thin touch of DARK POMPA- 
 DOUR. The thorny little parts which you notice 
 all over the surface of the fruit is made with a 
 very fine pointed brush using OLIVE GREEN. 
 
 Gooseberry (Water Color Painting) 
 
 In water color painting you may use a trifle of 
 HOOKER'S GREEN LIGHT very watery for the 
 light parts and a trifle darker for the shadows. 
 Apply the small lines crossing the fruit when the 
 general color is dried and with a small liner. If 
 some of the fruit has a rosy color you may at- 
 
 91
 
 tain this color by using a delicate touch of CAR- 
 MINE LAKE. 
 
 Gooseberry (Oil Painting,) 
 
 In oil painting you may use also a light GREEN 
 of any kind which you may have at hand and add 
 to it a certain quantity of WHITE to make the 
 desired tone. At the dark part of the fruit use 
 more of the GREEN and on the other side more 
 of the WHITE. The small lines crossing over 
 the fruit are made with the same color only by 
 using a small lining brush. 
 
 Mountain Ash (China Painting) 
 
 In china painting you may use either CARNA- 
 TION RED or YELLOW RED No. 2 for the 
 painting of mountain ash. In the dark shadows 
 you may add a trifle of DEEP RED BROWN or 
 VIOLET of IRON. If that color is a trifle too light 
 for your decoration you may use the LIGHT 
 POMPADOUR for the general color and DEEP 
 RED BROWN for the shadows. 
 
 This fruit has a small high light, which you 
 should keep plain white. Be careful in keeping the 
 round shape of the fruit, as, if you make some 
 oval and some round, they will not appear natural. 
 
 Mountain Ash (Water Color Painting) 
 
 In water color painting you may use the 
 FRENCH VERMILION mixed with \ trifle of 
 BURNT SIENNA for the general tint of this 
 fruit. For the dar shadows you may add more 
 BURNT SIENNA and leave the high lights 
 plain WHITE. 
 
 Mountain Ash (Oil Painting) 
 
 In oil painting you may use also the VERMIL- 
 ION for the general shade of the fruit, perhaps 
 mixed with a small quantity of CARMINE LAKE. 
 For the shadows you may mix with this color 
 
 92
 
 VAN DYKE BROWN and for the high lights you 
 may use plain WHITE. 
 
 Blueberries (Thina Painting) 
 
 Blueberries in china painting are painted with 
 PURPLE BLACK mixed with a trifle of BAND- 
 ING BLUE. Leave the little high lights in the 
 center and use more of the BLACK toward the 
 shadows. You must draw the shape correctly so 
 that they all will look alike. 
 
 Blueberries (Water Color Painting) 
 
 In water color painting you use the PAYNES 
 GREY and if necessary a trifle of COBALT 
 BLUE. Be certain to leave out the high lights. 
 
 Blueberries (Oil Painting) 
 
 In oil painting you use IVORY BLACK mixed 
 with COBALT BLUE and perhaps a trifle of 
 WHITE. High lights are applied on the end with 
 a light touch of WHITE. 
 
 Pine-Cones (China Painting) 
 
 In china painting you use the AUBURN 
 BROWN or HAIR BROWN for the dark shadows 
 of the pine-cones. Apply the shadows in half 
 round sharp touches very much like a fish scale 
 and toward the light part of the cone have these 
 touches a little smaller. 
 
 In the second firing you wash all over the cone 
 a thin touch of MEISSEN BROWN. You may 
 strengthen the shadows with FINISHING 
 BROWN and the cones will look pretty natural. 
 
 Pine-Cones (Water Color Painting) 
 
 In water color painting you may use BURNT 
 SIENNA for the dark shadows of the pine-cones. 
 The light parts should be painted with DARK 
 CADMIUM mixed with a trifle of the BURNT 
 SIENNA. For the dark touches use VAN DYKE 
 BROWN. 
 
 93
 
 Pine-Cones (Oil Painting) 
 
 In oil painting you may use VAN DYKE 
 BROWN for the dark shadows and BURNT SI- 
 ENNA mixed with WHITE and ORANGE YEL- 
 LOW for the light parts. Use more or less of the 
 VAN DYKE BROWN as you need. 
 
 Leaves 
 
 Every fruit or flower has, of course, a different 
 style of leaf and also a different color. For in- 
 stance, roses have leaves with a dented edge very 
 much like a saw and when you paint these leaves 
 or when you paint roses you should paint the 
 proper shape of the leaf, otherwise the flower and 
 the leaf will not appear related. 
 
 The poppies, for instance, have a leaf which is 
 rather raggy and with a broken edge. The nar- 
 cissus has a long, straight leaf. The violet has a 
 round, or nearly round, shape of leaf and so has 
 the nasturtium. Now if you put a nasturtium 
 leaf to a rose, or a violet leaf to a narcissus, you 
 undoubtedly realize how absurd the effect would 
 be. When you copy flowers or fruits it is of the 
 most importance that you should study the char- 
 acter of the leaf, especially regarding its form. 
 
 The colors of the leaves may vary consider- 
 ably on certain seasons of the year, for instance, 
 leaves may be a trifle more green in the spring 
 than at some other season or perhaps some of the 
 leaves being withered may become more YEL- 
 LOW or perhaps a little RED. These colors, even 
 if not very correct, may be overlooked, but not so 
 with the proper form of the leaf. 
 
 You will also notice that the leaves of roses 
 grow in clusters of three, five, seven and perhaps 
 more, and how they attach themselves symmet- 
 rically to the stem. The violet leaves, for in- 
 stance, start from the roots of the plant. Leaves 
 of such flowers as narcissus, tulip, etc., start from 
 almost any part of the branch, and apples, pears, 
 
 94
 
 peaches, cherries, etc., have also no rules in this 
 respect. 
 
 All these simple hints should be well under- 
 stood by students and in painting the different 
 flowers and fruits should follow the rules accord- 
 ingly. 
 
 I will give you a general idea of the different 
 GREENS used in painting leaves, these different 
 shades being used according to your judgment 
 and also according to the general effect of the 
 decoration. As I stated in the beginning of this 
 chapter the colors of the leaves are dark GREEN 
 in the young life of a flower or fruit and becomes 
 more and more YELLOW or RED with the pas- 
 sing of time. You, therefore, should not follow 
 closely the use of a certain color of GREEN, but 
 make changes and alter the effect so as to make 
 pretty color combination. 
 
 Leaves (China Painting) 
 
 In everything you paint, three shades are 
 necessary, as for instance, dark shadow, medium 
 shadow, and the light parts. Leaves should have 
 a dark shadow perhaps in a very small propor- 
 tion, the medium shadow in a larger proportion 
 and then fhe light part which is the part receiv- 
 ing the light direct, and about as broad in space 
 as the medium shadow. 
 
 A good color for the dark shadow of the leaves 
 is the SHADING GREEN or if a very dark color 
 is desired, the DARKEST GREEN. For the me- 
 dium shadow ROYAL GREEN or OLIVE GREEN 
 or if you have it at hand, EMPIRE GREEN. 
 Either one of these three colors will be good for 
 the medium shadow. For the lightest parts of 
 the leaves you may use either one of the follow- 
 ing colors: APPLE GREEN, YELLOW GREEN, 
 MOSS GREEN, or perhaps a very thin coating of 
 RUSSIAN GREEN. If the leaves are in a very 
 yellow tone, for the dark parts I would advise 
 
 95
 
 BROWN GREEN and for the light shades MOSS 
 GREEN. If the leaves are reddish I would ad- 
 vise AUBURN BROWN or HAIR BROWN for 
 the light parts. This later color is very pretty 
 for autumn leaves. 
 
 As you notice that I have given several colors 
 for leaves in defferent shades of GREEN, you 
 must use your judgment in using the proper one. 
 In grape leaves, for instance, there is a good op- 
 portunity for using some YELLOW and RED 
 tones giving the impression that the leaves are a 
 little old and withered ; here you can use also a 
 trifle of YELLOW RED or perhaps BLOOD RED, 
 having touches of YELLOW BROWN and AL- 
 BERT YELLOW. 
 
 For shadow leaves in china painting you may 
 use any neutral, low toned color. Shadow leaves 
 are called those leaves which are deep in the back- 
 ground and which are generally very flat and 
 without detail helping to give a relief to the main 
 subjects in the foreground. For instance, if you 
 have your fruit or flower painted and the main 
 leaves painted in clean, bright GREEN, and all 
 the details finished up carefully, you must have 
 several leaves in the background painted with a 
 delicate flat grey tone and these leaves are gen- 
 erally called shadow leaves because they are sup- 
 posed to be way back from the foreground. 
 
 These shadow leaves are painted with a neu- 
 tral color of any kind, as for instance, SHAD- 
 ING GREEN very thin or COPENHAGEN BLUE 
 very thin, or else MYRTLE GREEN very thin, 
 or if the effect is to be very light you may use 
 COPENHAGEN GREY. These shadows leaves 
 have very little detail and they will help in mak- 
 ing a very pretty effect. You may add a sug- 
 gestion of a stem here and there so that they do 
 not look loose in the air. The effect will be very 
 pretty. 
 
 The shadow leaves are applied when you ap- 
 ply the background and, as for instance, you ap- 
 
 96
 
 ply the IVORY YELLOW background you 
 change this color occasionally with a touch of a 
 GREY color suggesting the shape of a leaf and 
 when you pad the background you also pad this 
 leaf, making the effect very soft and pretty. 
 
 In china painting the best method for painting 
 leaves is, of course, the painting on of dark shad- 
 ows on the first firing and the application of the 
 general green color on the second firing. When 
 this second application is dried, a few dark touches 
 of SHADING GREEN or DARKEST GREEN, ap- 
 plied with a lining brush, will give a very good 
 finished appearance to the leaf. 
 
 When you apply the background to your decora- 
 tion it is always advisable to run over or pad over 
 part of the leaves, as this thin tint will soften 
 the appearance of the leaves and make them, so 
 to say, appear deep in the background. 
 
 Do not paint all the leaves of one coloring, but 
 if you have some of the leaves in OLIVE GREEN 
 and some, for instance, shadow leaves in a GREY 
 COLOR you may add one or two leaves in BROWN 
 GREEN, for instance, and a small one in YEL- 
 LOW BROWN and you will find that this variety 
 of color will improve the effect very much. 
 
 I find that in finishing up leaves, I apply the de- 
 tails on the very last, and use a dark color and a 
 small lining brush which gives the finishing touch 
 and completes the appearance of the leaves. 
 
 As I stated several times you should have a 
 correct drawing of the leaves belonging to the 
 special flower or fruit, and even if your color is 
 not perfectly correct, at least it will not be out 
 of drawing which is the worst fault of any kind. 
 
 Leaves (Water Color Painting,) 
 
 In water color painting you may use a combina- 
 tion of colors for the making of all leaves. HOOK- 
 ER'S GREEN No. 1 and HOOKER'S GREEN No. 
 2 are two ready made greens for leaves, one be- 
 
 97
 
 ing light and the other one dark. EMERALD 
 GREEN is a very strong bright green which you 
 may use for clean high lights. A good green which 
 is very much used is a mixture of INDIAN YEL- 
 LOW with PRUSSIAN BLUE. By using more 
 of the YELLOW and less of the BLUE, or vice 
 versa, you will have a variety of green tones very 
 soft and sunny. If you wish to make a very dark 
 green, of course you can always add a trifle of 
 IVORY BLACK or if you want a dark yellowish 
 shadow you can use RAW SIENNA mixed with 
 a trifle of BLACK and perhaps of any BLUE. 
 However, the INDIAN YELLOW is a very useful 
 color when mixed with PRUSSIAN BLUE. 
 
 It will not be necessary to give here the begin- 
 ning touches or the finishing touches of the dif- 
 ferent leaves, as it is understood that you should 
 apply the dark shadows and later on the light 
 parts. On the leaves for china painting I have 
 also, given a few rules which may be applied to 
 water color painting, especially those that per- 
 tain to shadow leaves. 
 
 Shadow leaves in water color painting can be 
 made with a trifle of PAYNES GREY and it 
 is to this color that you may add a small quan- 
 tity of any green that you may have at hand 
 which will make the shadow leaves less or more 
 green according to your general effect. These 
 leaves can be applied either over the background 
 or before, as in water color it is much easier to 
 work out these details. Furthermore, if your 
 background or leaves should be a trifle too dark 
 you could lighten them by washing over with your 
 brush some clean water and rubbing over and 
 over until the colors are as light as you wish to 
 have them. 
 
 I will not mention again the drawing of all 
 leaves which you wish to paint, as this must be 
 understood in every subject that you undertake. 
 For instance, drawing is the very most important 
 and colors are of a secondary importance. 
 
 98
 
 Leaves (Oil Painting) 
 
 The different colors used for the painting of 
 leaves in oil painting could be classified by taking 
 any of the YELLOWS and mixing these with 
 PRUSSIAN BLUE or COBALT BLUE or else 
 NEW BLUE. There is also the EMERALD 
 GREEN which is a very clear, bright color used 
 mostly for the light parts and still there is other 
 greens, as for instance, CHROMES GREEN of 
 which there is a light and dark shade. 
 
 In oil painting there is always a certain quan- 
 tity of WHITE mixed with the other colors and 
 you must of course, use enough of these colors to 
 make the desired effect. RAW SIENNA will be 
 helpful for cold, green leaves and for red or au- 
 tumn leaves you may use BURNT SIENNA per- 
 haps in combination with ORANGE YELLOW. 
 You may add a trifle of BLACK or more BLUE 
 for the dark shadows and use a light shade of 
 YELLOW perhaps mixed with EMERALD 
 GREEN for the very clear, brilliant tone of green 
 leaves. For the shadow leaves you may use any 
 dark blue mixed with a trifle of WHITE and a 
 small quantity of RAW SIENNA so as to make 
 a dead, grey tone. Of course, in oil painting there 
 is always a chance to change and add your color 
 in case you have made any mistake, but I must 
 remind you that you should do this only when 
 your first application of colors are perfectly dry 
 and the drying will take at least several days. 
 
 If students desire a complete list of colors, 
 brushes and materials used in painting, they may 
 have full catalog, free of charge, by writing the 
 author of this book. 
 
 99
 
 INDEX 
 
 Page 
 
 Introduction 3 
 
 Preface 7 
 
 Water Color Painting 10 
 
 Oil Painting 16 
 
 China Painting 21 
 
 Background 27 
 
 Composition 32 
 
 Flowers and Fruit 39 
 
 Pink Roses 40 
 
 Dark Red Roses 40 
 
 Yellow Roses 41 
 
 White Roses 41 
 
 Violets 46 
 
 Forget-me-nots 48 
 
 Wild Roses 50 
 
 Apple Blossoms 52 
 
 Carnations 54 
 
 Lily of the Valley and Narcissus 55 
 
 Poppies 57 
 
 Pansies 58 
 
 Chrysanthemums 61 
 
 Sweet Peas 63 
 
 Daffodils and Yellow Daisies 64 
 
 White Daisies and Easter Lilies 65 
 
 Morning Glories 67 
 
 Nasturtiums 70 
 
 Lilacs 71 
 
 Wistaria 74 
 
 Wistaria Grape Painting 76 
 
 Geranium 76 
 
 Grape Painting 77 
 
 Blackberries 81 
 
 Raspberries 82 
 
 Strawberries 83 
 
 Currants 83 
 
 Apples and Pears 84 
 
 Plums 85 
 
 Oranges and Lemons _ 86 
 
 Nuts 87 
 
 Cherries 88 
 
 Peaches 89 
 
 Gooseberry 91 
 
 Mountain Ash 92 
 
 Pine Cones 93 
 
 Blueberries 93 
 
 Leaves 94 
 
 100
 
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 shades, cotton shades, etc. giving all details. Price 50c. 
 
 The Teacher of Pastel Painting. By D. M. Campana. 
 
 It teaches the best method and the best materials for 
 the painting- with pastel colors. Price 65c. 
 
 The Teacher of Animal Painting. By D. M. Campana. 
 
 How to paint Lions, Tigers. Dogs, Horses, Cows, Etc., 
 giving correct color and method. Price 65c. 
 
 Studies in Series. (20 Series.) By D. M. Campana. 
 
 Conventional and realistic: all in colors and original. 
 Each series contains 6 designs in colors with full direc- 
 tions. Flowers, fruit, conventional. Each series 50c.
 
 University of California 
 
 SOUTHERN REGIONAL LIBRARY FACILITY 
 
 405 Hilgard Avenue, Los Angeles, CA 90024-1388 
 
 Return this material to the library 
 
 from which it was borrowed. 
 
 r in ap- 
 . With 
 
 st way 
 sticks, 
 
 A lf k for complete catalog containing designs,