KXRAM1C STUDIO SUPPLEMENT 
PEACOCK (Supplement) 
Will Rannells 
FOR the light blue in eyes of feather use Deep Blue Green, 
Apple Green, Banding Blue and a little Yellow Green 
For the dark blue use Banding blue, Copenhagen Blue and 
Deep Purple. For the yellow, Yellow Brown, Albert Yellow 
and Dark Grey, a little Yellow Green and Brown Green is 
added for the yellow on wings. For the light green tone in 
tails use Apple Green, Deep Blue Green, Yellow Brown, Shad- 
ing Green. The color is painted in and then the lights are 
wiped out. For dark green use Shading Green, Banding Blue, 
Yellow Green, Dark Grey and Dark Brown. Blue in bodies 
is Deep Blue Green, Shading Green, Banding Blue, Copen- 
hagen Blue. Limb of tree, Violet, Blood Red and a little 
Ruby and Dark Grey. 
Second Fire — Oil the large circle back of peacocks and 
dust with 2 parts Yellow Brown, 1 part Albert Yellow, 1 part 
Pearl Grey. Oil the grey tone and dust with Pearl Grey and 
a touch of Yellow. Wash over peacocks where mussy with 
same colors as in first fire. 
WATER COLOR TREATMENT 
Rhoda Holmes Nicholh 
The decorative study of Peacocks by Will Rannells is 
particularly well composed and big in feeling and follows 
the lead of the Japanese with something of his own added 
The spaces are well filled in without being crowded and the big 
mass made by the peacock's tails makes a predominating 
form relieved by the drawing of the feathers which prevents 
it from being heavy. The orange of the sun is carried down 
into the peacocks' feathers which very much helps the color 
scheme. The signature also being orange becomes a part of 
the arrangement, whereas the delicate drawing of the twigs 
makes a pleasant and almost necessary vaiiety of line. The 
absolute flatness of the background and the sun suggest body 
color or Chinese white used with all the colors and that is the 
treatment which I shall give this time. A rather fine tinted 
paper of this color is all that is necessary for the background. 
If that cannot be procured, mix Chinese White, Light Red 
Yellow, Ochre and a little Cobalt Blue. You will be unable 
to match this color exactly therefore mix even more than enough 
to cover the paper. With a full brush start from the top to 
the bottom never going back after it has once started to dry. 
If it is not successful, sponge it all off and try again. The 
sun is Orange Cadmium with a little Scarlet Vermillion or 
Rose Madder. The birds should be drawn over this background 
as if they were done first. The opaque color would obliterate 
the drawing. For the breast use Emerald Green, Antwerp 
Blue and a small touch of Alizarin Crimson in the deepest 
note. These colors run through the tails. The yellow feath- 
ers and the yellow in the eyes of the feathers is made with Raw 
Sienna, a little Burnt Sienna and a little Chinese White. The 
sharpness and brilliancy of touch is most important especially 
about the eyes and beek for the most brilliant lights use the 
white very thick. The branch should be painted with Burnt 
Sienna and Antwerp Blue. Prussian Blue will always take the 
place of Antwerp and it is a little stronger. The dark line 
surrounding and framing the picture is a part of the whole. 
*r 1? 
STUDIO NOTE 
Miss Helga M. Peterson of Chicago writes that she has 
changed her studio from 102 Auditorium Bldg. to her home 
1330 Winona Avenue. 
MARY L. BERRY 
