MORNING GLORIES ON BLACK EBONIZED OR A MILKGLASS PANEL.

New Zealand Graphic, Volume VI, Issue 33, 16 August 1890, Page 14

MORNING GLORIES ON BLACK EBONIZED OR A MILKGLASS PANEL.

Morning glories, size 9 x 12, is a graceful design well adapted to panel decoration. On the black panel stamp the design with white powder." If you use the milk-glass panel stamp with blue powder. One bottle of pale drying oil ami sable brushes Nos. 1,2, 3, 4 and 6 will be needed, also the following tube oil colours : Kremnitz white, permanent blue, madder lake, ivory black, raw umber, burnt sienna, yellow ochre, Cobalt blue, Antwerp blue, light cadmium, light red, light zinnaber green, vermillion. On black it is always best to give one thin coat of white first to your design. When this is dry and you wish to paint purple glories, mix white, a little permanent blue, and a little each of madder lake and ivory black. For your shadow tints work in very smoothly a little each of raw umber and burnt sienna. For white morning glories, and one or two of these will be pretty on the panel, mix white, yellow ochre, very little madder lake and cobalt, using burnt sienna in the shadows. For the high lights white, yellow ochre and a trifle madder lake used with light touches. In the title points of the petals, where the tinge is yellow, use a trifle of light cadmium, white and ivory black. For pink morning glories, use white, madder lake, yellow ochre and a little black. In shading the pink ones add light red ami raw umber. For the green leaves mix Antwerp blue, white, light cadmium, light red and

ivory black ; work in for cooler tones, iiermanent blue ami madder lake. Delicacy of shading is the all important part in the painting of Howers. In some places work in a little vermilhon instead of light red. This will produce a brighter green. The shadows on the leaves are painted with Antwerp blue, burnt sienna, raw umber, white cadmium and ivory black. Take out but a triHe of each colour, a little more of white than the rest, using first enough drying oil to render the paint smooth. For the stems and tendrils, use light zinnaber green, white, light cadmium, vermillion and ivory black. For the shadows use burnt sienna and Antwerp blue. Do not take up too much colour in brush at one time. Smooth, even strokes and shades well blended together will secure perfect work.