The wood is dccp-bou^hed, and its glade 

 Has ruts o{ waggon to and fro; 



Yet where the print of urheel is made 

 The bracken ventures still to gro\v. 



r. Conf.ni Hah: 



mixtures than others. To make my meaning clearer : Antwerp 

 and Prussian blue are greenish blues, and therefore when blended 

 with yellow will produce a brighter green than would be the case 

 if cobalt or ultramarine had been used : the latter, having purplish 

 tendencies, makes excellent mauves, purples, and violets when mixed 

 with rose madder or crimson lake. Then, again, vermilion, an 

 orange red, makes a more satisfactory orange colour if mixed with 

 Indian yellow than if a pinkish red had been used, while, on the other 

 hand, mixed with blue, it would have been anything but a satisfactory 

 purple. 



It is only experiment and experience that will teach you the special 

 characteristics of various pigments, and this all comes with practice. 

 You will notice that rose madder, Prussian blue and Indian yellow are 

 transparent colours, while yellow ochre, light red, vermilion, and lemon 

 yellow are opaque ; this, of course, gives a very different quality to our 

 work, and must be remembered in mixing. 



Brown pink is useful in giving a very beautiful warm olive tint to 

 green, but it is rather a gummy colour, and, if used too heavil)-, will 

 always have a somewhat sticky effect and never properl)' dry. 



Sometimes brilliancy of effect is better gained by using colours in 

 single washes, one over the other : for instance, if a light wash of 

 Antwerp blue is put on a leaf, allowed to dry, and then a wash of 

 aureolin is applied after, it will probably produce a more intense green 

 than if the tints had been mixed first 

 on a palette in the ordinary way. 



The Use of Chinese .''' ' 



I do not as a rule advise the use 

 of Chinese white to students ; it is 

 rather tiresome to manage, and is apt 

 to give a hard opaque look to water- 

 colour drawings ; whereas, especially 

 in painting flowers, it is a great thing 

 to aim at freshness and transparency 

 of effect. 



If you feel a touch of brighter 

 light is absolutely necessary to a 

 drawing, and the colour you wish to 

 remove has stained the paper too 

 deeply to admit of washing out, do 

 not mix your tints with the white on 

 your palette ; put a sharp definite 

 touch of pure Chinese white on 

 first, and when it is thoroughly 

 dry, lightly glaze the local colour 



91 



