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it with the third; and in some front leaves that are worked up high, sometimes
they will require a fourth, which becomes a still darker touch of shade,
in order to produce effect. This circumstance must always be particularly
attended to; that is, whenever a leaf is worked up in the manner above described.
Never cover the first tint all over with the second tint, nor the second
with the third; if you press a leaf perfectly flat, it will be all of one
colour or tint. By bending it, or by hollows or indentures, it appears to
have many different tints; but the shade invariably increases gradually,
and if some part of every tint be not seen, it will look harsh and hard:
for example, if you lay a flower with No. 1, of the pink blue, or purple,
and then take the tint No. 3; wherever the extremity of the tint No. 3 lays,
it will appear distinct, instead of which, the shadow should increase imperceptibly.
These observations hold good in all flowers of one colour; and it is an invariable
rule, that the darkest tints should always be put in the last.
In water colour painting you cannot be too careful in laying first the lightest
tints, and particularly white amongst the flower, where you can only leave
the paper for that colour, as one of the greatest difficulties is to avoid
muddling the tints; and, if you put the faintest tint where you have a clear
white, and attempt to wash it out, it will appear muddled. It is equally
the same in any yellow, blue, or pink flower; because the lightest tint should
be clear and bright.