class="clearme"/>

Conventional Apples. Apply wash of Primrose Yellow, shade with Yellow Red. Another effective combination is Yellow Red shaded with Blood Red. Leaves may be painted Moss Green shaded with Shading Green. Stems should be painted with Auburn Brown. For background use Copenhagen Gray, shaded into pale Violet mixed with a touch of Black. A very pretty lustre effect is to lay in some of the fruit with Orange Lustre and others in Roman Gold. The leaves may be painted with both Lustre and painting Tints—some may be Orange Lustre and others Meissen Brown color. Stems should be Auburn Brown. An artistic background would be either clear Oriental Ivory or Oriental Ivory mixed with a touch of Black. It must be borne in mind that these color schemes are intended to be used strictly in connection with conventional New Process Black Outline designs. They are not intended as suggestions for natural style painting. It is not advisable to make use of these instructions unless in connection with black outlines.

Conventional Oranges. An appropriate conventional style decoration for oranges would be to lay in the foremost one in Roman Gold and those showing only partially in Yellow Brown Lustre. The flowers may be left plain White with touch of Gold in centre. Use Green Lustre for leaves and Dark Empire Green and Auburn Brown may be used for stems. In background of Celestial Turquoise put in a few touches of Meissen Brown next to fruit and under leaves. Warm Gray or Oriental Ivory with touch of Black mixed with it may also be used for background.

Conventional Poppies. For a cluster design the centre flower may be painted with Light Carnation, others with Sweet Pea Pink. Poppy Red and Yellow Red are also suitable tints. Stamens should be painted with Black or Violet mixed with Black. Seed pods may be painted with Gray Green tipped with Black. Leaves and stems may be laid in with Apple Green shaded with Shading Green. For background use Oriental Ivory mixed with touch of Black. For lustre decoration use Rose Lustre for centre flower and a thinner application for outside flowers. Seed pods may be Gray Green painting color and stamens Gold. Leaves may be painted with either Light Green Lustre or Apple Green painting color. Stems should be the same. Background of Mother of Pearl Lustre or Oriental Ivory painting color.

Bittersweet. Some of the berry forms Yellow-Red, others Albert Yellow mixed with Pompadour. Moss Green is a very good tint for upper leaves and Apple Green mixed with a touch of Deep Purple for lower leaves; a touch of Black may be added to this mixture for darkest leaves. Auburn Brown should be used for stems. Background of Oriental Ivory mixed with a touch of black is effective for such an arrangement. If the design is a panel effect bordered with bands, Gold may be used to good advantage for bands.

Tulips. If the design be a cluster, the larger flowers may be painted with pale Primrose Yellow shaded with Yellow Green at base. If any petals turn or curl back into the background these may be laid in with Violet of Iron. Sweet Pea Pink and combinations of White and Pink (striped) may be used with good effect for other flower forms. Stamens may be painted in with black. For leaves use Yellow Green or Gray-Green at top, shaded into Royal Green, and at base use Shading Green. For background use Royal Copenhagen Gray from a very light tone at top shaded into deeper tones at bottom.

Nasturtiums. This popular motif may be painted in a great variety of color schemes. For Yellow flowers use Primrose Yellow (various shades). Ivory Yellow and light application of Yellow-Brown. Pinks and Blood Red may be used for other shades and mixture of Blood Red and Auburn Brown for Mahogany shades. Light leaves may be laid in with Apple Green mixed with Gray Green and deeper ones with a mixture of Apple Green and a touch of Deep Purple. Moss Green mixed with Gray-Green is also a good combination. For background use Auburn Brown next to the design, blended into Oriental Ivory.

It would be impossible in this small work to go into detail of this subject, considering the number of flowers we would have to deal with—consequently we will deal only with the most popular subjects. When painting an American beauty rose, paint the center and shadows in crimson purple, mixed with about one-sixth part of darkest green. The half shadows are done in crimson purple, leaving the lighter parts white. Use colors of medium thickness. The piece is then ready for the first firing.

Next go over the light parts with American beauty color, but treat the shadows with crimson purple. Be especially careful about keeping the shape of the rose as true as possible. Use crimson for the detail work of the petals. Fire the second time.

If a third firing seems necessary, retouch, using the same colors.

When very delicate shades are desired, in rose painting, a light dusting of brown-green toward the centre will prove effective. Some of it can be dusted over the background. This should be done before the second firing. The centre of a rose should always be a pure rose color. If colors are applied too thickly, they are sure to chip off. It has been learned by experience that dark greens are the most satisfactory to use with purple or ruby when dark effects are needed. Blacks and browns mixed with purple usually oxidize.

The average artist pays too little attention to the foliage in flower painting. He starts out to paint a flower and the