586 
have indicated a method in a previous 
article. For others who prefer not to 
have the bother there are “just as good,” 
but no better, that can be obtained ready 
made. With equal care and the same 
manipulations all are capable of identical 
results. We found but orie brand of 
transparent colors that was unsatisfac- 
tory, but to the best of our knowledge it 
has long been off the market. 
In connection with the Diamond dyes 
referred to in the July RECREATION, we 
would recommend light blue for wool, 
which with yellow makes good greens for 
grass and foliage; and blue for cotton 
which is excellent for skies. A large 
assortment of colors is not necessary. 
Scarlet, yellow, orange, brown and the 
blues are the most essential. By combin- 
ing two or more of these, a variety of 
other tints are possible; and, if desired, 
other stock colors may be purchased. The 
greens should be let alone. Mixtures of 
yellow and blue will be the more satis- 
factory and will not change their hue in 
drying. 
The paper has much to do with the 
color effects. Prints on the rough Stein- 
bach and similar stocks can be made to 
represent genuine water colors; and a 
royal bromide print can be converted into 
a fair imitation of an oil painting. Velvet 
Velox, Velvet Bromide and Royal Bro- 
mide papers are easily colored and require 
no preliminary sizing. Carbon Velox and 
the other bromide papers absorb so much 
color that, when dry, they have a dull, 
displeasing appearance. This can be over- 
come by sizing the print prior to coloring. 
A size that is easily made is as fol- 
lows :— 
gum solution, with ten drops of carbolic 
acid for a preservative. Mix thoroughly 
and filter. Take a small quantity of the 
size, dilute it with five to eight times its 
bulk of water and apply to the prints with 
a flat brush; an inch camel’s hair or 
Siberian wash brush will be suitable. If 
the paper is very porous two or more coats 
of size will be advantageous. Little pools 
of size that may collect on the print should 
be broken up and spread over the surface. 
In the selection of brushes for coloring 
there are differences in opinion among 
workers. Some use the flat brush almost 
exclusively, others nothing but the round. 
RECREATION 
Some would have nothing but the expen- 
sive red sable, but the majority use camel’s 
hair. Both round and flat will be useful, 
and the less expensive will as satisfacto- 
rily meet all requirements. A quarter- 
and a half-inch flat and three round 
brushes of different sizes will be ample. 
The colors can be mixed and diluted in 
small pools on a sheet of opal or common 
window glass. If the latter is used, it is 
advised that a sheet of white paper be 
under it, so that the worker may readily 
distinguish the tints. Any desired shade 
of green can be made with blue and yel- 
low, the tints being varied as the propor- 
tions of the colors are altered. Yellow 
and brown, or blue and brown, make good 
shadow tints for the greens; scarlet and 
orange, appropriate flesh tints; while or- 
ange and yellow make a variety of yellows, 
to which scarlet or some other red may be 
added, when desired, for sunsets or other 
subjects that require brilliant coloring. 
Purples are obtained by combinations of 
scarlet and blue, and brick reds by mixing 
scarlet with a large proportion of brown, 
and with terra cotta alone, or with some 
other red and brown. Other colors less 
frequently needed will be useful occasion- 
ally, either alone or in combination. To 
reduce the colors to the desired shades it 
is only necessary to dilute with clean 
water. All dye colors are self-blending 
when applied in thin washes; none blend 
when used otherwise. It is better to Apply 
the colors too weak, rather than strong. 
The necessary strength, and superior 
effects, will be obtained by subsequent 
applications. 
The colorist should closely observe 
color effects in nature and endeavor to 
reproduce them, in preference to imitating 
the work of another. The directions 
which follow merely suggest to the begin- 
ner how he may start. By observation, 
‘and with a little experience, his ideas will 
enlarge so that if put into practice his 
work will steadily improve. 
To color a view begin with the sky by 
going over it with one of the flat brushes 
containing sufficient clean water to cover 
the sky surface, and wiping or blotting 
off the surplus moisture. While the print 
is wet color the sky, beginning at the 
horizon, with a very pale tint of yellow, 
orange, or a pink made by diluting the 
crimson or scarlet; and drawing the brush 
across the print with bold, quick strokes, 
work rapidly toward the top. Then, with 
