that is close at hand—a tiny clump of white flowers with feathery foliage, golden disks, and silvery petals growing humbly near the shorn stubble of the cornfield. It is a wise selection. Being of a lowly habit, the flowers will not be tossed and stirred by the wind, and so worry you at the very outset of your task. Moreover, the flowers have simple forms. They resemble tiny umbrellas with long handles. Draw first the shape and curve of the slender stem, then the circular gold centre, then the 'mass' shape of the petals dividing up each petal later, noting their wayward manner of growing.
After this your eye probably will be attracted by the gorgeous berries of the whole nightshade twisting its jewels round the ash stump and fence.
Draw the post and paling before the entwining tendrils and stalks. Wide-flung circles and rampant growth such as these lead the eye astray. But if the upright post and the cross-piece are once fixed on paper, then we have two simple and solid shapes lending contrast to the delicacy of the twining stem. If you began by drawing the stem of the plant, your eye might be misled by its strength and sinews. The foliage is vigorous. There is no feeble indecision in the sweeping curves and twisted heart-shaped leaves. Sketch the looping curves of the stem, then place the leaves, drawing from tip to tip on the outside edges. The berries gem the post in fanciful clusters, hanging from thread-like stems. Make the post firm and strong and shade it broadly. The richest tone, however, is reserved for the berries, and the leaves have a high polish
It is undoubtedly a tempting subject for the brush. Mix your colours clearly. The berries will probably attract your first attention. Try to get the rich tints glowing and bright, then the colour of the leaves, allowing for their transparency by laying the paint freshly and broadly, and, when dry, adding some of the deep greens and browns of the background.
In all probability you will be disappointed with your first
