Leaves have a direction, to paint them properly you must begin them from the top, that is, from the stalk end. Half the leaf is painted at a time, from the principal vein to the edge, making the brush twist in such a manner that the brushmarks and ridges done in the handling may represent the secondary veins. The leaves of bulbs are painted from the top downwards; so are the leaves of heartsease. The leaves of nasturtium are made almost of a flat tint, converging to the center, which is a light spot; their color is a very light blue-green, shaded with grey.
You must not be afraid to mix purple or carmine with green, to shade foliage.
Fruit. This style is done indiscriminately on porcelain, earthenware, enamel, and faience. It is very easy; the essential point is to match well the different shades of color, and to lay them one over the other while they are still wet. The softener flattens them and helps the tints to mingle. Leaves are not dabbled, nor are the stalks.
To describe in detail the manner of painting divers fruit would take too long, and would, in truth, have very little interest. We shall limit ourselves to one example.
Painting of a Peach. Flat yellow tints, graduated into green, and mixed with grey in the shadow. Dabble carefully. Be careful to add more oil to the red part, which is softened afterwards very easily with a dabber, and red blending freely with its neighboring color from the effect of the oil.
Birds. On faience birds look very well. They are also done on porcelain to imitate Saxony ware.
There is nothing particular to be said about bird painting. With regard to fancy birds, the merit consists in the servile copy of ancient and exotic types. Good examples of natural birds are not scarce. General information sufficient for the use of the colors will be found in our lessons.
Landscape. Landscape is not traced; it is drawn very lightly, so that the pencil may form no obstacle to the painting.