dip the brush in the whiting pan. Tints composed of three or four colors can be rapidly compounded in this way, adding more size as often as required to render them workable. Where a lot of color is required, as for skies, the colors are mixed in pots, and to get the various tints the painter dips his brush first in one pot and then in another, and in this way puts in a sky of perhaps a dozen different hues.
For foliage, a quiet general tint may be obtained by mixing Dutch pink with black, indigo with blue verditer. Light ochre with green lake gives a rich green, which may be changed to a cool one by the addition of indigo. For sunset skies mix in separate pots the following: verditer and indigo; verditer and damp lake; damp lake and orange chrome. For clouds, mix verditer and orange red, or Venetian red and azure blue; rose pink and azure blue. For cold gray clouds add a little black. For lights in clouds, mix yellow ochre and rose pink, or yellow ochre and orange red. For distant foliage mix verditer and rose pink, or use Dutch pink alone. For the sea, Dutch pink, verditer, indigo, raw sienna, azure blue and emerald green will be found most useful. For rocks some of the following tints will be useful: indigo, burnt sienna and rose pink—emerald green and black—Vandyke brown and ultramarine—indigo, rose pink and ochre. Black and Venetian red make a useful gray. For gold colors mix brown ochre and Dutch pink, or Dutch pink and sienna or Vandyke brown, these for laying in. For the lights use flake white and lemon chrome, orange and yellow chrome, chrome and Dutch pink. Purple and mauve look fresh by day, but are dirty and muddy by gaslight. For moonlight skies a good tint is verditer and indigo mixed. For clouds add black and more indigo. Water is generally the color of the sky and the objects that are reflected therein, such as trees, banks and rushes. For branches and trunks of trees, use indigo, lake and yellow ochre—burnt sienna and ultramarine—Dutch
