Oil Colours

If a painting on canvas is desired, select one with a fine surface, as the blossoms need to be carefully drawn and delicately treated. Draw the outlines correctly, and secure them with burnt sienna and turpentine. Paint at first the general effect of the background you intend to use, as it will naturally exert an influence over the flowers.

Flowers

For the general tint of delicate purple use permanent blue, madder lake, white, a very little yellow ochre, and a touch of ivory black. For the deeper shadows add raw umber, and in the warmer tones burnt sienna. The highest lights are made with the local tint of permanent blue or cobalt mixed with rose madder, white, and a very little medium cadmium, qualified with a little raw umber. The yellow touch at the centre is given with cadmium, white, vermilion, and a little raw umber.

Leaves

Use Antwerp blue, white, cadmium, raw umber, and madder lake, adding burnt sienna in the shadows. Paint the stems with raw umber, madder lake, white, yellow ochre, and a little permanent blue.

Backgrounds

A light, pinkish grey may be made with madder lake, white, yellow ochre, a little ivory black, and raw umber. For a soft blue grey use cobalt, white, a little ivory black, yellow ochre, and a very little light red. For a pale canary yellow tint, mix light cadmium, white, a very little rose madder, and ivory black. A deep orange yellow is made.with deep cadmium, yellow ochre, white, a little ivory black or bone brown. A light silvery grey, which may be deepened if shadows are desired, is made from bone brown, cobalt, white, light red, and a little yellow ochre. A deep, rich reddish brown, suggesting Russia leather, may be used effectively. For this mix madder lake, bone brown, and a little ivory black. Use fine sable brushes in finishing.

Violets Pen Study By E. M. H.