Brookshaw, George / A new treatise on flower painting, or, Every lady her own drawing master: containing familiar and easy instructions for acquiring a perfect knowledge of drawing flowers with accuracy and taste: Also complete directions for producing the various tints.
Orange Colour Tints, p. 24
24 Orange Colour Tints. These are likewise composition tints, made by mixing gamboge and vermillion together. From what I have said of the manner of mixing the other tints, and by referring to the tints themselves, you will easily find out the method of making these. The brighter the orange colour is wanted, the less vermillion must be added: in some cases, the lightest tints of an orange colour may be put in with a full strong yellow, as a nasturtium: some high-coloured wall-flowers and bleeding hearts are almost an orange; and the very lightest tints of them will be better expressed in yellow. It is easy to make the lightest tints darker, but you can never make them lighter in water colours. The various degrees of shadow for orange colours, are what I have shewn in gradations in the tints, therefore we will now proceed to give some directions about the Yellows. You may observe that gamboge is the brightest yellow we have; consequently all yellow flowers, such as yellow tulips, yellow roses, yellow jonquils, and other yellow flowers, must be laid in with it; yet their shadows are not made by working the yellow stronger, as in the pink and blue, but made with different colours. In the case of faint pale yellows, the yellow should be worked thin to put in the first and second tint, which may be done by strengthening the yellow; but, in a full yellow flower, the first degree of
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