IN sketching from nature it is well to remember that water will reflect the colours above it modified with cobalt. The white paper should be left untinted to represent the ripples on the surface, sharply cutting into the dark reflections, thereby giving them the effect of being in the water and not only on its surface.

If a little neutral tint be introduced into all the colours with discretion, it will promote a delicate harmony and give a very pleasing result. Care, however, should be taken not to use too much, or it will cause the colour to look dirty, which should always be guarded against.

Above all things, the colour should be kept liquid, as in the open air the water dries very rapidly, and if too dry colour be used the work is sure to be liney.

It is a great mistake to sacrifice one study for another, to devote yourself to drawing to the exclusion of colour, or vice-versa. Drawing gives you the form of an object, colour its life. As soon as you can draw it, then try to paint it. But do not begin to paint it before you can put its outline on paper, or rest satisfied when you know how to draw it, till you have learned to fix its colour too.

Certain grades of buff wrapping paper are now largely used by artists and students in sketching with the pencil from nature, and at some of the art schools. The paper can be bought in bulk and made up into pads or sketch-books by any bookbinder. Its advantage is in its tint and in the surface it presents for the pencil, not to mention its cheapness.