Now and again indulge yourself in a new paint.
Moist aureolin, cyanine blue, orange madder, are all a little dangerous—a little expensive and delicious to handle.
Before leaving the subject of water-colour paints I might mention the water-colours in tubes known as 'slow-drying.' These are recommended for hot climates.
One stipulation more.
Whether you have a lavishly stocked box, or whether you content yourself with a modest range of colours, you must always treat your box respectfully.
Keep the paints clean and dry, the palette clean.
It is a good rule to start a fresh painting with a fresh mixing of colours.
Before putting your box away see that no paints are submerged under water. Colours soon deteriorate, and it is astonishing how quickly mould will accumulate on certain tints. A tiny piece of sponge is useful, and pieces of soft rag, freed from fluff, are almost a necessity for cleaning purposes.
Chalks or pastels are often used as an introduction to colour-work, and an excellent beginning they are. They are not so messy as paints. They train the eye quickly. We must abide by the chalk or pastel; it is difficult to correct or erase.
Chalks are the cheapest of all colour mediums, and a box of twelve pastels costs a very small sum.
The large boxes containing a range of beautiful tints are necessary for more advanced work.
Pastels require pastel paper, but this is not expensive and it is easily procurable. As a substitute for pastel paper use brown paper, the ordinary packing paper with a not too smooth or shiny surface. This will serve excellently for chalk, both black and white.
White (unsized) sugar-bags are useful for water-colour painting. The inside of a thick white envelope provides a choice paper for pencil or black chalk.
Michelet paper, or imitation Steinbach, is useful for char-
