1. The drawing must be as nearly perfect as you can make it, the shadows and half tints being fully indicated.

2. All the shadows of flesh must have grey edges.

3. The darkest parts of shadows are near their edges, the middle being lighted by reflected light.

4. Strong shadows of flesh always incline to red.

5. Put grey tints between the hair and the flesh, bluish tints on the temples, and greenish tints over the sockets of the eyes.

6. Your colours should always be bright and pure, especially in water-colour and china painting. Do not mix too many colours at a time: the simpler the painting, the better the effect.

All young painters have a habit of making the shoulders of a girl like those of a man.

IN drawing flowers, strive to get every variation of form accurate. In painting them, try to obtain their general effect, and the form will suggest itself. The reason for this is, that a drawing of a flower can only give you a scientific reproduction of it, and the more correct and minute this is, the better. But in a painting you reproduce the living beauty of the flower, and the minuter you work the less life your picture will have; for the more labour you put on it the more its spirit will give-place to your mechanical art. Remember that you can never reproduce nature line for line, for you have not the substances or pigments she produces her effects with. All you can do is to suggest her. If you endeavour to do more, your work ceases to be a picture and becomes a mere diagram.

Hints For Figure Painting 125

Fig. 23. - Back flat end with horseshoe trendies.

We regret that Mr. Alexander Fisher's second article on the "Technical Processes of Enamelling" reaches us too late for the present issue of the magazine. It will appear next month, as will also an illustrated notice of the splendid exhibition of his recent work, which is in progress at the Dowdeswell Galleries, 160, New Bond Street, as we go to press.