While orange warm—advancing you behold.
The union of two primaries forms a hue
As perfect and decided as 'tis new;
But all the mixtures which all three befall,
Tend to destroy and neutralize them all;
Nay, Mix them—three parts yellow, five of red,
And eight of blue—then color all has fled.
When primaries are not pure, you'll surely see
Their complementals change in due degree:
If red (with yellow) to a scarlet tend,
Some blue its complemental green will blend;
So if your red be crimson (blue with red),
Your green with yellow would be varied;
If yellow tends to orange, then you find
Purple (its complement) to blue inclin'd;
But if to blue it leans, then mark the change,
Nearer to red you see the purple range.
If blue partakes of red, the orange then
To yellow tends: if yellowish, you ken
The secondary orange glows with red,
In the first painting, the aim should be to get in what is called the "dead coloring," which blocks out the design in the principal colors. This done, the background can be laid in. If a smooth background is wished, it can be obtained by the use of the blender, using it somewhat after the manner described for china painting. If a mottled background is wished, two paintings are required. First, cover the background with a simple flat tone, say terre verte and burnt sienna. In the second painting, which must not be done until the first is perfectly dry, wipe the painting over with a little poppy oil, being careful to leave no superfluous oil on the painting. This causes the two coats of paint to combine. Now go over the painting with the same tints used in the dead coloring, correcting, improving, and softening, making the high lights (that is the parts nearest approaching to white), laying them on with spirited touches, and with rather stiff color. For the mottled effect in the background use Antwerp blue, yellow ochre and white, with a very little light cadmium; prepare also some terre verte and burnt sienna, with madder lake. Paint in
