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FLOWERS AND 
 HOW TO PAINT THEM 
 
IWRARy 
 
FLOWERS AND 
 HOW TO PAINT THEM 
 
 BY . . 
 
 MAUD NAFTEL, A.R.W.S. 
 
 NEW EDITION 
 
 CASSELL AND COMPANY, LIMITED 
 LONDON, PARIS, NEW YORK AND 
 MELBOURNE. MCMVl 
 
 All Rights Reserved 
 
So fair, so sweet, withal so sensitive 
 Would that the little flowers were born to live 
 Conscious of half the pleasure which they give ; 
 That to this mountain daisy’s self were known 
 The beauty of its star-shaped shadow, thrown 
 On the smooth surface of this naked stone.” 
 
 Wordsworth. 
 
(mI3 
 
 INTRODUCTION 
 
 9CG35 
 
FLOWERS AND HOW TO PAINT THEM. 
 
 T he following studies are intended as an aid to the student in flower painting ; but it 
 is of course assumed that the elementary stages of drawing have already been mastered 
 in a partial degree. It is always a great temptation — and one too often indulged 
 in — to use colour before a sufficient knowledge of drawing has been acquired ; this must be 
 avoided ; and students are therefore recommended to commence their studies by drawing 
 with great care different varieties of leaves and flowers from nature, in pencil outline only. 
 Drawings of this nature will be found in the book, and may be used with advantage both 
 as examples to be copied, and as illustrations of the kind of outline to be made, direct from 
 nature. When a certain facility has been acquired in outline, shading may be proceeded with ; 
 this should be done with neatness and precision, observing closely the structure and forms of 
 the plant or flower, at the same time paying more attention to the modelling and rounding 
 of the surfaces than to the actual details of the pattern ; for these studies are not intended 
 to serve as botanical lessons, but rather as a help to the student in producing artistic 
 representations of some of the most beautiful forms in nature. A knowledge of botany, 
 though an additional power, is nevertheless not a necessity for the correct drawing and 
 
10 
 
 Fj.owef(3 and How to Paijmt Thejm. 
 
 painting of flowers ; and the student who closely observes and carefully copies nature in a 
 loving spirit, cannot commit any grave errors. 
 
 A small twig with leaves attached, put in water, with a piece of white paper behind it, 
 .so that the leaves are clearly relieved against the background, as in the example given 
 on page 8 of the book, makes a beautiful and instructive study ; and the student will find 
 that care in observing and conscientiously noting the perspective, or foreshortening of the 
 leaves, as they retire and come forward, will be labour amply repaid. When a leaf or stem 
 passes behind another, and is partly hidden, great care must be taken that on its reappear- 
 ance it may not appear broken or distorted. The outline should be indicated with light 
 loose lines, in order that any necessary correction may be easily ‘effected, the curves, angles 
 of the edges, &c., then added, and after that the principal masses of shadow, gradually adding 
 more truths, and giving the effect of relief 
 
 Small pieces of lichen-covered branches, stones, toad-stools, and mushrooms : all these make 
 good studies ; in fact, almost anything may be drawn to cultivate freedom of hand and firmness 
 of touch, and at the same time to exercise the powers of observation and patient comparison. 
 
 MATERIALS TO USE. 
 
 Lead pencils (HB and II); a medium surface or hot-pressed paper, sold in blocks or 
 sheets ; a piece of india-rubber or, better still, some crumb of stale bread. 
 
Flowef{3 and How to Paijnt Thejvi. 
 
 11 
 
 The student, having attained a certain proficiency with the pencil, should then make close 
 copies of the following ten studies, remembering always that laying on colour correctly is as 
 much a matter of drawing as using a pen or pencil. 
 
 The materials to be used first call for consideration : moist colours in pans or tubes are 
 preferable to cakes ; and the following colours are necessary : — 
 
 Gamboge, 
 Yellow Ochre, 
 Cadmium, 
 Rose Madder. 
 Crimson Lake, 
 Vermilion, 
 Cobalt Blue, 
 Indigo, 
 
 Emerald Green, 
 Permanent Yellow, 
 Raw Sienna, 
 
 Burnt Umber, 
 
 Raw Umber, 
 Vandyke Brown, 
 Lamp-black, 
 Chinese White. 
 
 Colours not absolutely necessary^ though sometimes useful 
 Golden Ochre, Carmine Madder, 
 
 Aureolin, Cobalt Green, 
 
 Pale Cadmium, Yellow Madder. 
 
 Burnt Sienna, 
 
 Brushes — Flat sables. Nos. 6, 7, 8. 
 
 These studies were done on Whatman’s hot-pressed paper ; but Whatman’s medium 
 surface, “Not” (?>., not pressed), or the “O.W.” paper, are equally good, 
 
12 
 
 Flower3 and How to Paiint Thejvi. 
 
 Always work at an easel^ with the light on the left side, so as to avoid any shadow from 
 pencil or brush falling on the drawing ; or, if obliged to work at a table, arrange a sloping desk 
 upon it, and move it near a window which is not exposed to the direct rays of the sun. 
 
 Should the student find any difficulty in laying on colour evenly within a given outline, a 
 little preliminary practice in flat washing would be advisable before attempting to copy the 
 originals. The method advocated by Mr. Ruskin, in his “ Elements of Drawing,’^ is the best, but 
 the following directions will help those who have not access to that book. Fix a piece of 
 smoothish paper in a sloping position, divide it into squares or circles of about an inch and a 
 half in diameter, and fill in these spaces with any colour, keeping it rather liquid. Begin at the 
 top of one of the squares ; carry the colour gradually down to the bottom ; if it is too 
 liquid and forms ponds, take a piece of rag or blotting-paper, and drying your brush on that, 
 take up the superfluous colour. Do not trust to re-touching, but go on trying until you can make 
 the colour lie smoothly and evenly in one wash, not in alternate dark blots and pale patches. 
 The lines of the squares or circles must be accurately observed, and the colour must not exceed 
 them by one hair’s breadth. When the spaces are covered with colour, turn the paper upside 
 down, and lay on another coat in exactly the same way ; and when that is dry, even a third. 
 The use of turning the paper upside down is to prevent the colour lodging always in the same 
 place, and thus making a dark blot at the bottom of each square. Having thus learnt how to 
 
Flowef(3 and How to Paint Thejvi. 
 
 13 
 
 lay on a flat tint, then try a gradated one. Rule the paper into columns, drawing the lines from 
 top to bottom of the boards. Begin at the top, between the lines, with a brush full of colour, 
 and when it begins to be exhausted add some water as quickly as possible, and lead the tint 
 further down. Add water again, and so go on until the colour melts into white paper at the 
 bottom of the circle or square with a perfectly smooth gradation from the deepest shade 
 of colour into pure white. Be sure that each time water is added it is mixed well into the 
 whole of the pan or saucer of colour, with the brush. 
 
 MUSHROOMS. 
 
14 
 
 PLATE /. 
 
 PELARGONIUM. 
 
 First draw a correct outline in pencil ; lighten the lines with perfectly clean crumb of stale 
 bread or india-rubber, leaving only enough of the pencil line to serve as a guide to the eye 
 when using the brush, while sufficiently faint not to show through the colour. Provide a glass 
 of clean water, clean palette, and brushes. Then proceed to lay on the shadows with great 
 care, trying to get the right depth of colour at once ; cobalt blue, rose madder, and yellow 
 ochre, or lamp-black, rose madder, and yellow ochre, will make the right tone if mixed in 
 proper quantities. Success in using the exact proportions must entirely depend on the student’s 
 intelligence and powers of perception, for the same colours will make the brightest purple or the 
 tenderest grey; sometimes a little more pink than blue is required, or more yellow, &c. Shadows 
 are very subtle, and have as much colour in them as the light, often much more. The red for 
 the dark petal is made of rose madder, with a little scarlet vermilion ; the very dark spot, of 
 crimson lake, Vandyke brown, and indigo, put on while the pink is half moist, so as to give 
 
BLACK BRYONY. 
 
Flowefj3 and How to Paijmt Thejvi. 
 
 17 
 
 a melting appearance, and prevent the formation of a hard edge. Notice that the centre of the 
 flower has a greenish shade, given by mixing a very little gamboge with the shadow tone ; the 
 light petals are of palest rose madder ; the centre streaks darker rose madder, or crimson 
 lake. For the greens of the leaves, calyx and stalks, use varying tones of cobalt, raw sienna, 
 and gamboge ; for the darker tints, indigo and raw sienna ; for the very bright greens, 
 emerald green and gamboge. The pinkish bloom on the top surface is formed by the addition 
 of a little pink mixed with Chinese white, and put on rather dry. 
 
 It is not advisable for beginners to use Chinese white as a rule, but at times it will be found 
 useful ; a very little mixed with the shadow colour of white flowers in a filmy semi-trans- 
 parent way, is often the only method of representing the soft velvety texture of a petal. 
 
 When the principal half-tones are laid on, and before any one part of the drawing is 
 completed, the background must be put in ; in this case it is composed of lamp-black 
 and yellow ochre, and it should be noted that the darkest part is on the left-hand side. 
 Care must be taken to lay the colour only up to the pencil outline of the flower, and not 
 over ; the right depth of tone must be arrived at by repeated washes. 
 
 Should any of the tones on the flowers be too light, add another wash over the parts 
 which require it, allowing some of the paler tints to show here and there as half-tones. If 
 any part of the study is too dark when dry, brush that portion of it over gently with clean 
 water, removing the superfluous moisture by gently pressing and wiping it with a clean soft rag. 
 
i8 
 
 PLATE II. 
 
 ARUM LILY. 
 
 It has been thought advisable that one of the first of these studies should consist of a flower 
 which from its breadth and simplicity is easy to draw, therefore we have chosen the Arum Lily. 
 
 The pencil lines of the sketch may be as faint as possible, but the student must adhere faithfully 
 to the outline and proportions. Being a light flower, begin by washing in the background tone of 
 indigo and yellow ochre, and take it neatly and exactly up to the faint pencil outline, so as to 
 conceal the line itself ; then add the principal mass of shadow on the left-hand side, composed of 
 black, used very sparingly, aureolin, and a slight addition of Chinese white, to give that opaque, 
 leathery look so beautiful in the lily ; let it be lighter as the throat of the flower narrows. 
 
 Where the yellow pistil throws a lovely reflected warmth, and gently powders the sides with its ^ 
 
 pollen, use a little more aureolin ; the edges of most of the shadows should be softened with 
 
 pure water ; then add the smaller shadow on the right-hand side as the lip curls under, and the 
 
 delicate grey tint underneath ; the ribbed-like appearance of the petal must be given by 
 
 carrying .some very tender grey touches towards the centre, and a delicate tint of pale aureolin 
 
 behind the pistil. The largest mass of light may be left white paper. 
 
< 
 
 o 
 
Fj.owe^3 How to Pai^^t Thejvi. 
 
 21 
 
 Where the flower joins the stalk it 
 is a greenish shade ; the stalk itself 
 may be made with varying tones of 
 cobalt, yellow ochre, and gamboge, 
 with a little indigo on the shadow side. 
 Use the same colours for shading the 
 leaf, with the addition of a little raw 
 sienna ; and where the edge 
 shows first signs of decay, a 
 little golden ochre. 
 
 Now pay a little more 
 attention to the flower. The 
 grey shadow may have dried 
 lighter than intended ; if so, 
 add another wash, and gra- 
 duate it until it fades into. the 
 light. Should the background have left a hard edge against the flower in drying, touch upon it 
 with your brush and clean water, and apply your rag or blotting-paper ; add the tenderest touch of 
 pale grey shadow along it, leaving the highest light about the eighth of an inch away from the edge. 
 
 BLACKBERRY BLOSSOM. 
 
22 
 
 PLATE III. 
 
 PINK HOLLYHOCK. 
 
 Having made a correct outline, wash in the blue of the background, which is composed of 
 indigo, with a little emerald green ; do not stop to flatten it ; this may be done by degrees, 
 and at times when you are waiting for other parts of the drawing to dry. Next try to match 
 the soft grey of the shadow on the flower with varying tones of cobalt, light red, and rose 
 madder, put on freely with a full brush. 
 
 Where the shadow colour melts into pink without any decided shape, add some pure rose 
 madder while the whole is wet. When dry, blot some rose madder in broken tones all over the 
 flower ; let it be richer and darker as it approaches the centre, for the very darkest part add 
 some crimson lake, and immediately against the green centre a little Vandyke brown ; the ap- 
 pearance of finish is given by repeated washes. When adding the second and third applications 
 of pink, care must be taken that the transparent veins radiating from the centre arc delicately left. 
 
 Bear in mind that to render accurately the texture of different leaves and flowers is 
 one of the most difficult sections of flower-painting. In the present example it may be 
 observed that the texture is thin, and almost transparent, and very much like crumpled 
 
LAUREL. 
 
Plowei^s and How to Paijmt Thejvi. 
 
 25 
 
 tissue-paper, while the leaves are dull, and have a downy, woolly appearance when com- 
 pared with the glossy look of those of the rose or 
 camellia. A close imitation cannot be attained with one 
 wash, and to succeed at all it is particularly necessary 
 to pay great attention to the light and shade. Wash 
 the general grey-green tone of colour, made of cobalt 
 and yellow ochre, over the leaf, leaving the little serrated 
 edge white paper ; after that, add the transparent green 
 of the under side, made of gamboge, indigo, and raw 
 sienna, and while that is drying, add the shadow on the 
 left-hand side, and just under the flower ; that will imme- 
 diately give the cup-like appearance which is so im- 
 portant ; when dry, put in the smaller shadows made by 
 the rising of the leaf between the veinlets, and the deeper 
 ones of the principal veins ; then go back to the flowers 
 and buds, and add further details. The leaf will then 
 be dry, and will perhaps require a little more work. 
 
 The background should be made even in tone by filling foxglove. 
 
 in any light spaces with pale colour, so that the flowers stand in relief away from 
 
26 
 
 PLATE IV. 
 
 GLOIRE DE DIJON ROSE. 
 
 The same general directions apply to all these studies, but it may be well to recapitulate them 
 briefly. In every case the outline must be drawn in pencil lightly, and it is important to 
 endeavour to copy the principal shapes correctly without measuring, which however should 
 always be done afterwards as a check, nor should any colour be put on until the general outline 
 is correct. 
 
 In this study commence by washing in the broad centre shadow of the further rose, using 
 for this purpose a mixture of lamp-black, yellow ochre, and gamboge ; then, while this is still 
 moist, melt in the reds, and add here and there a little yellow, and in some places deep cadmium ; 
 when quite dry, put in the very darkest red. While the further rose is drying, commence the 
 other by putting in the shadow on the under side ; cobalt, yellow ochre, and rose madder will 
 make this ; and black, yellow ochre, and a little aureolin the green-grey tint on the outer petal. 
 
 There is more than one road to the desired end ; the simplest is here given : and when this 
 has been achieved, other methods may be tried, and by the.se means originality may be cultivated. 
 
 It i.s a safe rule to begin by putting on the middle tone, then the darkest parts, leaving the 
 
'FhOWEF{^ y\ND How TO PAIJNT ThEJVI. 
 
 29 
 
 highest light as pure as possible until the last. In applying a darker wash over a middle tint, 
 let some of the under tone appear through in places ; this will help to give the crumpled look of 
 the petals ; and where they curl over, the under edge will have a reflected light. This must 
 not be made too strong ; the very highest light on a curling petal is sometimes almost white, 
 especially if it is of a glossy texture ; the pale yellow tinge may be a faint wash of aureolin or 
 gamboge, and some of the greenish-grey shadows are composed of aureolin and black ; the 
 warmer ones, sometimes inclining to violet, may be made of a mixture of yellow ochre, rose 
 madder, and cobalt. The leaves in this example before us were done with particular care, and 
 equal attention and thought must be used in copying them. A single wash will not suffice ; the 
 lights and shadows, veins, serrated edges, must all be duly noted without being exaggerated. 
 Cobalt, raw sienna, and gamboge, either alone or in combination, are the principal colours to use ; 
 for the darkest parts, indigo may be substituted for cobalt ; for the serrated edges, rose madder ; 
 and where they have begun to decay, yellow or golden ochre. 
 
 There is a great difference in colour between the upper and under sides of the leaves, which 
 must be carefully observed ; the warm greyish-green of the latter is composed of emerald green 
 and yellow ochre, sometimes cobalt and yellow ochre, and where there is a tendency to pink, 
 rose madder and emerald green. The background may be indigo, light red, and raw sienna ; or 
 raw umber, indigo, and light red ; and the foreground cobalt, light red, and yellow ochre. 
 
30 
 
 PLATE V. 
 
 PINK JAPANESE ANEMONE. 
 
 We have chosen for this example the palest of the pink Japan anemones as the most likely, 
 from its tender colouring and refined shadows, to teach the student delicacy of handling ; and 
 it must be especially remembered that the least hardness of edge in the pencil outline will mar 
 the whole effect. Very carefully, therefore, after making the outline as accurate and delicate 
 as possible, still further increase the delicacy by the gentle application of bread, so as to leave 
 it as faint as possible. Begin the colouring by washing a pale tint of rose madder over 
 the two blossoms, taking care to follow closely the original, which it will be seen is fainter 
 in tone near the stamens and on a few of the petals, where the light falls on the out- 
 ward curve of some of the edges ; the shadows may then be added. This will require 
 great delicacy of treatment ; a small quantity of black, with rose madder and a slight 
 touch of aureolin or yellow ochre, to prevent a tendency towards purple, will give the 
 colour ; put on the pale shadow tone first, and deepen it with repeated washings, letting the 
 under tone show in places. 
 
Flowef^3 and How to pAl^^T Thejvi. 
 
 33 
 
 The small, round, green ovary should be made with emerald green and yellow ochre, 
 the stamens of cadmium, those in shadow with raw sienna. 
 
 For the lighter stalks use emerald 
 green and rose madder, with a touch of 
 gamboge where the greener tint appears ; 
 for the darker, cobalt and raw sienna ; 
 and for the unopened bud, also rose 
 madder and emerald green. 
 
 Begin the leaves by a wash of grey- 
 green all over, leaving, however, the very 
 translucent bit of yellow-green ; for this 
 wa.sh you will require cobalt, aureolin, and 
 rose madder ; for the translucent spot use 
 gamboge and emerald green, while the 
 varying shadows may be made with co- 
 balt and raw sienna, and the pink edges of rose madder and yellow ochre ; where 
 a pinkish shade is seen on the grey-green, a pale wash of rose madder should 
 be added. The background -is merely a wash of pale lamp-black, gradated very delicately 
 until, towards the lower part of the drawing, it fades into the uncoloured paper 
 
34 
 
 PLATE VI 
 
 YELLOW CHRYSANTHEMUM. 
 
 It will be seen that this flower is composed of many small petals, and therefore the drawing of 
 it is very intricate ; it is not, however, necessary to note all of them. Draw the general outline, 
 and then the shapes of the shadows, and if this is done carefully it will be found that the petals 
 will fit themselves into their proper places. First wash in the shadow colour with mixed 
 aureolin and black, and when that is dry, a pale tint of aureolin over the whole flower, melting 
 in some gamboge near the centre, where there is a deeper tint. The flowers in this study were 
 modelled entirely with these colours, either alone or in combination ; some of the pink tips in the 
 centre were added afterwards with rose madder. 
 
 The lightest petals of the principal flower are, in one or two instances, pure white paper, 
 and some of the others may be done with aureolin, or, should that not be bright enough, with 
 permanent yellow and white. 
 
 The leaves, and green of the bud. must be commenced with a general tone of cobalt blue 
 
F;.owef^3 and How to Paijnt Thejvi. 
 
 37 
 
 and yellow ochre, continuing with another of indigo and raw sienna, darkening where necessary 
 with yellow madder, indigo, and light red. 
 
 The background, simple as it is, will require care, for it is important that it should be even 
 in tone. To produce this, “stippling” or “hatching” may be resorted to. This is done by 
 applying very small touches of the desired colour in places where a light patch is visible. To 
 do this successfully great patience is required, and the colour in the brush must be small in 
 quantity. 
 
 HAZELNUT. 
 
38 
 
 PLATE VII. 
 
 PANSIES. 
 
 When the sketching is completed and corrected, let the pencilling be softened down with stale 
 bread, and proceed to the colouring. The delicate shadow which the flowers throw on the 
 ground should be washed in first ; a mixture of lamp-black and gamboge will produce the green- 
 grey tones under the leaves and front blossom, and rose madder and black that under the violet 
 petals of the profile flower, the edges being softened with pure water. Then wash a tone over 
 the whole foreground and background, deep enough to make the bright yellow petals stand out 
 as lights when they are painted, though for the present they must be left white paper. The 
 purple petals may next be added ; crimson lake and cobalt will produce the colour if put on full 
 and luscious, the upper petal having more crimson lake in its composition than the lower. 
 
 The violet petals of the profile flower may be made with rose madder, cobalt, and white ; 
 the darker ones, crimson lake and cobalt ; and the brown, crimson lake and Vandyke brown, or 
 brown madder alone. For the further flower, use various gradations of burnt sienna and rose 
 madder, here and there a little yellow madder ; Vandyke brown or burnt umber added to the 
 darkest parts. 
 
BURDOCK. 
 
Fi.OWEF^^ /.ND flow TO PAljNT ThEJVI. 
 
 41 
 
 The leaves and stalks should next have a little attention. The former have a cold bluish 
 tint, and this, composed of cobalt, rose madder, and aureolin, should be applied first, and carried 
 entirely over them, except in one or two 
 instances where the light shines through 
 and makes them a transparent green. The 
 darker tones may afterwards be added, and 
 indigo, raw sienna, and gamboge would be 
 the chief colours used. Recollect to leave 
 the under tint where required to indicate the 
 veins and texture of surfaces. Now return 
 to the blossoms, and wash some pure gam- 
 boge over the three yellow petals, and, when 
 dry, add the tender shadows with pale black. 
 
 Cobalt and rose madder will make the right 
 colour for the purple stains, and burnt sienna 
 and crimson lake the brown markings round the centre. Darken the background on the right- 
 hand side with indigo and light red, and add any touches of detail to the othqr parts of the 
 drawing. It is easier to judge of the relative strength of the lights and shadows by pro- 
 gressing equally with the whole drawing, instead of finishing any particular part first. 
 
 OX-EYE DAISY. 
 
42 
 
 PLATE VIII. 
 
 PALE PINK ROSE. 
 
 The pale pink rose is probably the most difficult of these studies, and should not be attempted 
 until satisfactory copies have been made of the simpler ones. Having drawn the leaves and 
 h rger shapes of the flower with faint lines, and fitted in the smaller petals in their proper 
 pr portion, the glass and small branch leaning against it must be sketched with the greatest care 
 and atience. This is a study in which it is essential to lighten the outlines in the manner 
 alread described with india-rubber or bread-crumb. Float in a little of the background 
 round the flower, and after that the largest mass of shadow on the rose, made of cobalt, 
 rose madder, and yellow or golden ochre. The entire flower is shaded with varying tones of 
 these colours, palest pink and yellow ochre, or even permanent yellow instead of yellow ochre, 
 for the light parts, rose madder and golden ochre for the deeper portions of transparent red. If 
 it does not come quite right at first, wash it gently together, and when half dry add the shadow 
 colour, leaving the half-tones clear and clean. This sometimes gives a delightful quality of 
 finish, but is only to be resorted to when the direct means have failed. 
 
 Be very careful in painting the curling edges of the petals with their tiny lights, shadows 
 
Plowef^3 and Hov/ to pAijMT The^, 
 
 45 
 
 and reflected lights ; make the background 
 even in one, by hatching if necessary ; notice 
 the gradual gradation from the darkest part 
 near the foreground on the right-hand side 
 to the lighter in the upper part on the left, 
 some colour to the leaves, made of varying tones of 
 cobalt, emerald green, and gamboge. The dark spot 
 near the flower is made of indigo and yellow madder. 
 
 The glass globe must now have some more colour ; 
 the reflection of the foreground in the upper part makes 
 it of a much warmer tint than the lower portion, which 
 takes its grey from the background ; add these different tints, 
 and go on adding, gradating, and taking away until the whole 
 represents a round glass globe full of clear water, with the leaves and stalks 
 showing indistinctly and confusedly. The high light has a rainbow effect, owing 
 to the glass being slightly iridescent. Now put the two studies together, and compare them at 
 a little distance ; you will thus soon perceive any faults, and in what respects your copy differs 
 from the original. The accuracy thus attained will be a great help in enabling you to recognise 
 truths which most beginners pass over carelessly. 
 
46 
 
 PLATE IX. 
 
 TULIPS. 
 
 Let a careful sketch of the tulips be made ; then, after the outline has been softened down, 
 the painting may be commenced. 
 
 The washes for the background should be first attended to ; the necessary colours are black, 
 permanent yellow, with a slight touch of indigo. 
 
 Lay on the pale pure tints first, both of leaves and flowers, proceeding equally with the 
 whole, and not neglecting any part by devoting too much attention to another. For the grey 
 shadows of the pink tulip use black and rose madder, with a very slight addition of white ; 
 on the inner, and on the lower part of the outer petals, add a little gamboge to the black. 
 
 Rose madder, of varying depths of colour, will supply the pink hue of the lighter portions of 
 the petals ; for their tips, leave the paper uncolourcd ; and for the tender grey shadows on these 
 tips, use black and permanent yellow. 
 
 The terra-cotta coloured tulip is principally painted and shaded with rose madder and 
 
Flowef^3 /.nd How to Paij^t Thejvi. 
 
 49 
 
 golden ochre, cobalt blue added in the shadow tone, and a little Vandyke brown for the deep red 
 on the inner petal. The tips and edges of the principal petal incline to a decided yellow ; 
 gamboge will supply this. 
 
 For painting the leaves, the light bright greens should be first applied ; a mixture of 
 emerald green and yellow ochre will give the proper colour ; it must be varied by relocated 
 applications, and by adding at times either gamboge or aureolin ; the darker tints come next, 
 and cobalt, yellow ochre, and gamboge will make the right tone, while an addition of indigo will 
 give the very darkest shade. 
 
 HAREBELL. 
 
50 
 
 FRONTISPIECE. 
 
 CRIMSON ROSE. 
 
 The outline of this crimson rose must be drawn with care; the numerous petals may prove 
 confusing, but a correct outline in the first instance will render easier the after-task of 
 colouring. In such a rich deep-tinted flower, it is most important to put on the colour of the 
 right strength at once, and not to trust much to re-touching, for no stippling or hatching will 
 give the velvety look so characteristic in this flower. Do not economise your colour : have 
 plenty of it on the palette, and keep your brush full ; carmine madder is chiefly used, 
 the darkest parts being crimson lake and Vandyke brown, melted in while the carmine is 
 moist. Some of the outer petals are not, of course, the result of one wash, but each successive 
 application must be put on in the same full manner, without disturbing the under colour ; the 
 bloom, sometimes grey and sometimes dusky purple, added afterwards with indigo, rose madder, 
 and yellow ochre, mixed with a small quantity of white. The shadow on the ground is an 
 important part of this study, and its delicate gradations form a beautiful and instructive lesson, 
 which will repay attention. It will then be noticed that the red of the rose is reflected in its 
 shadow, for the soft edge has decidedly a pinkish tinge, and in the same way the shadow of the 
 
Pj.owEF(p and How to Paiimt The/4. 
 
 51 
 
 green leaf has borrowed colour from the original. It is impossible to be over-careful in noting 
 these subtle differences, which, unimportant as they may seem, make all the difference between 
 good art and common art. A very pale wash 
 of lamp-black may be floated over the left- 
 hand side of the background and foreground. 
 
 The leaves are very twisted and curled 
 about, and will require nice imitation and 
 intelligent rendering to give their accidental 
 shapes and tints of broken colour ; the under 
 sides have a pinkish bloom in places ; emerald 
 green and rose madder will give this, and 
 emerald green and yellow ochre the warm 
 grey-green ; the transparent parts, gamboge, 
 cobalt, and raw sienna. It is impossible to 
 write directions for mixing colours in the 
 same style as a manual of cookery. Tones 
 and shades can be arrived at in difterent ways, 
 
 the simpler the better ; and the student would learn more by observing leaves and flowers, 
 and using the pigments they themselves suggest, than by servilely following a given receipt. 
 
52 
 
 A FEW HINTS FOR WORKING FROM NATURE. 
 
 It is hoped that the student, having gained knowledge and experience by copying the 
 foregoing studies, will now be prepared to take the next step in flower painting, which is, of 
 course, to work from nature. In the beginning, flowers as simple in form as possible should be 
 chosen ; nothing, for instance, could be better than a few blossoms and leaves arranged in a vase 
 or glass, and placed on a table at right angles to a window, for a side light shows best their 
 characteristic forms. The study should be arranged exactly as it is intended to be depicted in 
 the drawing, as the colour of the subject is often influenced by its surroundings ; thus a yellow 
 foreground will cast a yellow reflection into the shadows, and on the shiny surface of a china or 
 glass vase. Nothing is more annoying than to find your study has been disturbed during some 
 temporary absence from work, and a bell-glass large enough to cover the whole subject should 
 therefore be provided, and placed over it when work is suspended, in order to guard against any 
 accidental displacement. When a few simple studies have been completed, more complicated 
 subjects may be attempted ; aim as much as possible at variety in treatment and arrangement, 
 such as light-coloured flowers on a dark background, and vice versd, or blossoms thrown carelessly 
 on a table, with a sheet of grey or brown paper underneath them. Different varieties of flowers 
 in a subject add very much to the difficulty of making a successful painting, and it is therefore 
 better, at least in commencing, only to have one sort. 
 
Flowef^? and How to pAijMT Thejvi. 
 
 63 
 
 Do not sit too close to your subject, for at a little distance it is easier to judge the relative 
 value of light and shade, and this is more important than mere detail ; not that detail should be 
 altogether neglected, but it must be secondary, and in no way interfere with the breadth of the 
 whole.* In nearly every composition there is a deepest shadow and a highest light ; this is easy to 
 perceive in an apple or an egg, but it is present in an equal degree in a group of flowers, although 
 not so easily discernible by an unpractised eye. Put down the broad masses of shadow first all 
 over the subject ; separate them freely from the light, so that there is no doubt which is which ; 
 compare each portion with the other, and decide which is the deepest dark, and which the highest 
 light, all the rest being in gradation from one into the other. 
 
 Correct drawing and colouring are not the only requisites for success ; painting is besides 
 this a matter of feeling, and colour an innate perception of truths. In some people this feeling 
 and perception are instinctive ; others have to learn them. To the uneducated eye all trees are 
 green ; art teaches us that they may be any colour of the rainbow, changing with the varying 
 conditions of atmosphere, climate, and season. 
 
 There is no royal road to success ; indu.stry is the best master, and patience and per- 
 severance the only true aids to success ; as Turner said, “ I know of no genius but the genius 
 of hard work.” 
 
 * Mr. Ruskin says : “There is as much finish in the right concealment of things as in the right exhibition 
 of them,” 
 
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