There is, perhaps, no branch of decorative art more fascinating and less troublesome to acquire than that of painting flowers in water-colors. The outfit is so inexpensive as to be within the reach of all, while there is no reason that any one, with sufficient taste and patience to learn any kind of fancy work, should not attain a tolerably satisfactory degree of proficiency. Of course, every one knows that really artistic work can only be done by those who have mastered the rudiments of drawing and color, and who possess also some degree of talent. But many, who could never hope to call themselves artists, will nevertheless find, if they but try, that they can do much toward beautifying their homes, and giving pleasure to their friends, by the use of the brush. And my experience has been, that very many of my friends who now can paint with both skill and taste, succeeded in defiance of all the rules of the schools. They attempted to paint before they could draw; when, in fact, they had to trace everything they wished to paint. Their first emotion after carefully coloring a traced drawing was surprise that they could do so much, but quickly followed the feeling of dissatisfaction with their work, accompanied, however, with the conviction, that having once painted a flower they could certainly improve on it. The beginning is the great trouble. To avoid difficulties, therefore, I strongly advise all who are afraid to draw, to trace their copy on thin paper and transfer it, by means of transfer paper, to the card or paper on which they intend to paint. If corrections are needed a piece of bread, broken not cut out of the loaf, is very much better than India rubber in rubbing pencil marks out. It is also useful in removing color, and is often used in order to pick out the high lights.
Having decided to begin, the next question is, as to an outfit. Winsor and Newton's paints, either in tubes or pans, are decidedly the most desirable. A box containing twelve half pans, comprising the most needful colors, and a sufficient assortment of brushes, can be obtained for about $3.50. But the smaller boxes of French colors, costing from 50 cents upward, are quite satisfactory, and you can always add to your assortment of colors. Two brushes, either sable or camel's-hair, will be enough for a beginner. These vary a little in price, but camel's-hair brushes generally cost about five cents a piece. You can make your own holders. For making up your box you can, if you choose, omit some of the colors given, as their place can be supplied by mixing other colors. I give a list of desirable colors from which to choose. Those in italics are not necessary to a beginner, although very useful.
The colors marked with a (*) are opaque, and those with a (†) are semi-transparent.
Indigo can be made by a mixture of Prussian blue, black, and crimson lake.
This, again, combined with Indian yellow, makes a rich, dark green.
Olive green is made by mixing Prussian blue, gamboge, and vermilion.
Almost the same effect can be produced with a mixture of vermilion and gamboge, or Indian yellow, as with cadmium.
Prussian blue, with gamboge or cadmium, modified by burnt sienna, madder, or umber, gives a good number of greens. Hooker's greens, however, are extremely convenient, and zinnobar green (which comes in tubes), is especially useful when a warm light tint is needed.
Almost all flowers and leaves need gray in some step of the painting, and this is generally obtained by a combination of different blues, reds, and yellows.
Thus for a greenish gray, cobalt and chrome yellow, No. 2 or 3, would be used. For the shadows of white flowers, cobalt, Indian yellow, and Indian red, form a good tint. I have space only for a few hints on this subject. Careful study, observation, and experiment can alone teach you.
The next thing to be supplied is the surface on which to paint. Whatman's water-color paper is the very best to be used, but cards, panels, and even a good quality of wrapping paper will do. For real study, however, a block of Whatman's paper, costing according to size from 25 cents to $2.95, is decidedly the most desirable. The blocks are preferable to paper in sheets, as it obviates the need of stretching. This paper is very absorbent, so that you must have your color mixed so that it will flow freely. Have a piece of rag by you to wipe your brushes on after washing them.
The following directions for painting on velvet are compiled from the "Art Interchange":
"Cotton velvet or velveteen of a close pile or make is preferable to silk velvet. The colors used are the ordinary water colors, mixed with veluntine or gum dragon, sal volatile, or spirits of wine, so as to prevent their running into each other. The brushes are those known as scrubs; they are made of bristles and have flat, bushy ends, instead of pointed ones. As the velvet cannot be touched by the hand while working on it without spoiling the pile, a hand-rest, such as is described in the chapter on China Painting, is needed. It must be long enough to extend entirely across the velvet.
"Pounce your design on the velvet according to the directions on page 63. Mix up in various small saucers the tints required, adding to each a little veluntine, or gum dragon, or either of the other mediums named. Make the colors perfectly smooth and as thick as weak cream, and do not attempt more than two shades of a color. Dip the brush into the darkest tint of a color, and well fill it, letting any superfluous color drain off on blotting paper. Hold the brush upright over the velvet and paint by dabbing it on the velvet; never dab the color quite to the edge of a leaf or petal, but take a clean dry brush, and soften it off gradually there. Put in all the darker parts first, and never work over them or near them till they are quite dry; then take another clean scrub and finish with the lighter parts. Let one color dry perfectly before another is put on, and make the colors as solid as they will bear. Add a little water to a color when it is being softened down, but with very great care. Two shades on a leaf or petal can be softened into each other by brushing the leaf with the hard brush the way in which the pile runs most easily, and then the contrary way. Sketch in the stamens, veins and fine lines of the design with a crow-quill pen after the painting is dry. When all the work is done, take a smooth, soft hat brush and brush it gently over the work so as to raise any part of the pile that may have been flattened.
"Dark colored velvets must have the design painted over in Chinese white before coloring. To do this paint the design over with a slight wash of veluntine; let this dry thoroughly, and then put on Chinese white, mixed with veluntine, putting it on as dry as possible. Then paint with the right colors, mixed with veluntine, and shading as sparingly as possible. Do not brush when finished unless the pile is much flattened."