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The colors marked with a (*) are opaque, and those with a (†) are semi-transparent.

Indigo can be made by a mixture of Prussian blue, black, and crimson lake.

This, again, combined with Indian yellow, makes a rich, dark green.

Olive green is made by mixing Prussian blue, gamboge, and vermilion.

Almost the same effect can be produced with a mixture of vermilion and gamboge, or Indian yellow, as with cadmium.

Prussian blue, with gamboge or cadmium, modified by burnt sienna, madder, or umber, gives a good number of greens. Hooker's greens, however, are extremely convenient, and zinnobar green (which comes in tubes), is especially useful when a warm light tint is needed.

Almost all flowers and leaves need gray in some step of the painting, and this is generally obtained by a combination of different blues, reds, and yellows.

Thus for a greenish gray, cobalt and chrome yellow, No. 2 or 3, would be used. For the shadows of white flowers, cobalt, Indian yellow, and Indian red, form a good tint. I have space only for a few hints on this subject. Careful study, observation, and experiment can alone teach you.

The next thing to be supplied is the surface on which to paint. Whatman's water-color paper is the very best