Daffodils are bright warm yellow, or they are greenish. The leaves are green, usually of a silvery grey quality, although rather dark in tone. In the half-tints and high lights such leaves are almost blue. The whole plant growing in a pot might be taken as a model, the leaves and buds and blossoms arranged just as they grow, painted against some agreeable background. The single varieties of the daffodil will present fewer difficulties to the novice than the double flowers.

In Oil. Colours. - The background may be of a rather warm blue grey, light in the upper part and cloudy, and gradually darkening toward the bottom. This may be painted with permanent blue, white, yellow ochre, a little ivory black, and madder lake, adding, in the deeper touches, burnt sienna and raw umber. Add more white in the upper part, and use more black, blue, and red in the deeper tones below .


For the flowers lay in at first a general tone of light yellow qualified by grey. Make the shadows a deeper tone of yellow, but paint them in also very simply at lust, leaving the darker touches and other details for a later painting. The colours needed for the local tone are light cadmium, white, and a very little ivory black, with a touch of vermilion. In the shadows add burnt sienna, yellow ochre, and raw umber. Paint the high lights with white and light cadmium, qualified by the smallest portion of ivory black.


For the green leaves use permanent blue, white, light cadmium, madder lake, and ivory black. In the shadows add burnt sienna and raw-umber.

Water Colours: Flowers. - First wash in a general tone of light warm blue grey, using for this yellow ochre, madder lake, and a little lampblack. Afterwards, in finishing, use a little raw umber and burnt sienna in the darker parts, with as much of the other colours as may seem necessary. If at any time the lighter tones seem too dark, they may be easily made lighter by wetting the part, and applying clean blotting-paper to absorb the moisture. For the yellow blossoms use cadmium and a little lampblack for the first wash; have always plenty of water in your brush, and let the colours flow freely, catching up any superfluous drops with a piece of thick white blotting-paper cut wedge shape. After some experience, one may get beautiful effects by painting into fresh washes, but it will be safest for the beginner not to apply any more colour until the first wash is dry. In painting the shadows of the daffodils, add rose madder and raw umber. In the sharp touches beneath the petals a little burnt sienna may also be used.

The Leaves may be painted with Antwerp blue, yellow ochre, raw umber, rose madder, and lampblack. In the deeper touches of shadow, add burnt sienna and use less rose madder.

If hard lines come against the background from either flowers or leaves, the defect may be overcome by passing a brush dipped in clean water along the offending line.


Strong yellow flowers require that the background shall be subdued, and a tone like Vandyck brown, or, still better, brown madder, should be selected, both bringing out the yellow without being really too dark or too strong. A greenish grey made of burnt sienna, Antwerp blue, and a touch of brown madder is good also, or any other rather dull medium tint. A delicate yellow, with almost white lights, should have a much paler background; for instance, a thin tone of light red, with a touch of cobalt blue, or a purplish tone made of rose madder, cobalt, and, if too purplish, some olive green. A tint mixed of raw sienna, Antwerp blue, and rose madder makes a soft, either bluish or greenish grey, according to the use of more or less of the Antwerp blue or the raw sienna.