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.
Observations, pp. 22-23
23 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.
This material may be protected by copyright law (e.g., Title 17, US Code).| For information on re-use, see http://digital.library.wisc.edu/1711.dl/Copyright