will try to paint a bloom with the colour he judges nearest in hue, and 

 attempt to get all its form and modelling, all its variation of tint, with 

 different depths of the same hue. This can never possibly look right. 

 The local colour, i.e. the colour of the flower itself, is only visible in 

 places, as a rule mid-way between light and dark, and the lights and 

 shadings we notice are caused by various influences and conditions 

 of liuhl. 



CJt)"J©liT 



It is vcrj^ difficult sometimes to get a student to see this grej- colour 



caused by modelling and shadow, and when he does see it, he will 



possibly overdo it, and thus get a hard, dirty, and cold effect. Some 



will even use diluted black and call it grey. I once heard of a lady 



who shaded a lily with Indian ink 1 But it does not require much 



experience or even penetration to see what a dead effect this would 



have. The wonderful pearl-like tints in the modelling of a white 



flower, the beautiful luminosity in its depths, we have spoken of before, 



but it is a point worth emphasising ; for, once seen aright, it will be a 



study causing you boundless enthusiasm every time you try your skill. 



In many cases, especially with yellow flowers, it is as well to put in 



the modelling and shading on the clean white paper with a delicate grey 



and let it dry before applying the local colour. 



Many pigments resent being worked over after (lemon 



yellow is particularly disagreeable about it), so it is 



/ well to use them in pure washes as much as possible. 



f How curious it is that the three primaries, the 



brightest colours we have, should produce, when 



mi.Kcd together in equal parts, the most neutral 



colour of all, grey ! The proportions admit of 



very great variation. For instance, a predominance 



of red and blue, with only a dash of yellow, will 



give a purplish grey, or yellow and blue in excess 



will give a greenish grey. Take your colours and 



make some experiments. For very delicate greys 



use cobalt, rose madder, and aureolin, for a stronger 



and darker one, cobalt, light red, and yellow ochre, 



or cobalt and burnt sienna. 



Mixing Colours. 



Although such beautiful effects can be obtained 

 in printing from the three primary colours alone, 

 we who have a larger range of pigments at our 

 command will soon begin to notice that certain 

 colours possess qualities of their own lending them- 

 selves more readily and helpfully to particular 



90 



