Red flowers and Blue flowers

Red flowers are of so many different shades that it is only possible to give a general idea of colors to be used in painting them.

For deep red flowers use madder lake, ivory black, yellow ochre, vermilion and white, adding burnt sienna or Indian red in the deeper shadows. The vermilion and yellow ochre may be omitted in cooler tones, and a little cobalt added if necessary.

Those of bright scarlet are painted with vermilion, madder lake, yellow ochre, and white qualified by a very little ivory black.More vermilion and less madder lake are used according to the tone of red to be produced. In shading use raw umber, light red, madder lake and ivory black, adding a little cobalt if necessary.

Blue flowers may be painted with Antwerp blue or permanent blue, according to the tone desired. The Antwerp blue is combined with white, light cadmium, raw umber, madder lake, and ivory black, with burnt sienna added to the other colors of the shadows. This produces a warm greenish blue.

The cool purplish blues are made with permanent blue or cobalt, mixed with white, a little raw umber and ivory black, adding to these colors madder lake or light red in the shadows.

Yellow flowers are painted with cadmium combined with white and ivory black

Yellow flowers are painted with cadmium combined with white and ivory black. In shading use cadmium, yellow ochre, raw umber, light red and ivory black.

In very deep yellow flowers use orange cadmium and in those of medium tone a medium cadmium combined with yellow ochre both in lights and shadows.

Burnt sienna and madder lake are used in shading very deep yellow flowers in addition to the other colors given.

For purple flowers use madder lake, permanent blue, or cobalt, with white and ivory black, adding yellow ochre for a warmer tone. In shading use the same colors, with the addition of raw umber and burnt sienna if necessary.

The high lights are painted with madder lake, cobalt, white and a very little ivory black.

Water is generally darker and grayer

Water varies so that it is impossible to give special rules for painting it.  Observe always that water refects the general effect of its surroundings.

Under a blue sky the ocean is deep blue, while stormy clouds are reflected in its surface, turning it gray. The effect of dark blue water may be painted with Antwerp blue, raw umber, ivory black, madder lake, yellow dchre and white, used in the proper proportions, employing in addition burnt sienna in the shadows.

Water is generally darker and grayer than the objects which are reflected in it, though many exceptions occur to this rule.

Green in middle distance are warmer and less gray

Green in middle distance are warmer and less gray, and use for these permanent blue, cadmium, light red, raw umber and ivory black.

The foreground greens are bright and warm, with sometimes accidental, cool, blue lights, and are made with Antwerp blue, cadmium, white, ivory black and vermilion, adding raw umber and burnt sienna in the shadows. Trunks and branches of trees are rather gray than brown in their general effect, though rich in their shadows. Paint these with raw umber, ivory black, silver white, cobalt, or permanent blue and burnt sienna, adding yellow ochre in the warmer touches and substituting madder lake for burnt sienna in the cooler tones. The proportions of the colors must of course be varied to suit the special character of the trees painted, using less black or white or red, etc., as the necessity suggests.

Distant greens are generally gray and cool in quality

The tones of the middle distance occupy a place between.

A few leaves in the foreground may be drawn in detail. The trunks of trees should be treated in the same way, and the small branches drawn in with a fine pointed brush where they are most prominently seen, and merely suggested in other parts.

A few combinations of color that may prove useful to the beginner are here given.

For blue skies use: Cobalt, silver white, a little light cadmium, a little madder lake and enough ivory black to give quality. Clouds are painted with silver white, yellow ochre, ivory black, light red and cobalt, adding madder lake in the cooler tones, and burnt sienna in the deep shadows.

Distant greens are generally gray and cool in quality.  For these use permanent blue, cadmium, silver white, madder lake, and  ivory black, adding burnt sienna in the shadows.

The meaning of the term "value" in Art has already been explained

In painting landscapes from nature, two most important things to be considered are the study of the Values and Comparative Measurement.

The meaning of the term "value" in Art has already been explained, and too much care can not be given in thus ascertaining the relations of each tone to its surroundings.

The practice of comparative measurement consists of establishing some one object in the picture as a standard of measurement by which all other objects are compared, in order to ascertain their relative height, breadth or thickness.

For instance, take a tree in the middle distance and compare the size of its trunk with the trunks of trees in the foreground, and see how much larger the latter appear, though in reality the same size.

The same general principles apply to landscape as to figure painting

After studying near or foreground subjects for a time, extend your range, and endeavor to bring into your studies objects in the middle distance in their proper relations of tone and color to those near at hand. And after this, fix on some view that includes a distance as well as a middle ground and foreground, and paint these new elements in their truthful bearings upon each other.

The same general principles apply to landscape as to figure painting, and the general directions given in the first part of this book refer equally to the method of representing any object on canvas.

The list of colors already given will also be found sufficient for painting land- scapes as well as other subjects. In setting the palette, however, we make a slight alteration in the arrangement of the second row when the colors are prepared with white.