Foliage in some form will present itself in almost every landscape, and it is therefore necessary to have a few general principles to guide you in this important feature. In sketching trees be sure to get the character of their trunks, limbs, branches, and general form; also the texture of the bark, rough or smooth. You will see that the foliage appears in layers, one above another. Sketch in the outlines of the principal layers, where they are tipped with light; then go over the whole tree with a local color, and afterward separate the light from shadow. Each mass is edged with light, while its base is in shadow, as a rule. Omit _details_, and keep to your _masses_ of light and shade. If your tree is in the foreground, leave the white paper for crisp touches of high light. The tone of your fence will probably be gray, but do not take it for granted that it is _all_ gray; look for other colors, and you will find brown, blue, green, and sometimes red. Put these in as you see them, letting the edges melt into each other, as they will do when the paper is damp; but have each color pure, and do not try to mix them. =Painting from Notes= is not as difficult as one might imagine. With a little practice it is easily learned. The following directions will tell how to paint a sunset on the meadows, from notes made at sunset on the meadows on Long Island. [Illustration: How to Paint a Sunset in Water-Colors.] Take a piece of Whatman’s rough drawing-paper, or a kind that is termed egg-shell cartoon, the size decided upon for your picture. Have ready a large dish of clean water, brushes, and paints. Draw a pencil-line along the centre of your paper for your horizon, Fig. 151; then directly on the line paint a streak of vermilion. Put the color on quite damp, and make it about half an inch broad, extending one-fourth of an inch on either side of the horizon-line, Fig. 152. Next, quickly paint a yellow streak above and below the red one, making each streak of the same size and parallel, and leaving a little white paper between the different colors, Fig. 153. With a clean brush dipped in clean water carefully moisten the paper between the streaks, and allow the edges of the colors to mingle, Fig. 154. Before this has time to dry, paint a blue streak above and below, about half an inch from the yellow, Fig. 155; then with the clean brush dampen the white paper between, being careful not to get it too wet; there should be just enough moisture to enable the colors to flow and mingle at the edges, Fig. 156. This may be aided by holding the paper first one side up and then the other, until the edges are evenly blended. Now, before the horizon is quite dry, while it is still damp enough to cause the paint to spread, fill a brush with Payne’s gray, which should be rather dark and not too wet, touch the point of your brush here and there along the horizon, now a little above and now a little below, and you will find