Whittock, Nathaniel: The Oxford Drawing Book, Or The Art Of Drawing, And The Theory And Practice Of Perspective: In A Series Of Letters Containing Progressive Information On Sketching, Drawing, And Colouring Landscape Scenery, Animals, And The Human Figure: With A New Method Of Practical Perspective: Detailed In A Novel, Easy, And Perspicuous Style, For The Use Of Teachers, Or For Self-Instruction. Embellished With Upwards Of One Hundred And Fifty Lithographic Drawings, From Real Views, Taken Expressly For This Work (Oxford , London, 1825)

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windows, and doors of the buildings, and the road; in fact, every part that requires a
second shade. When this is quite dry, put it in strong shadow with tint No. 3.
taking care to let the touches on the trees form the figure you require. You have
now the whole of the drawing in light, shade, and middle tints, and you will finish
with tint No. 4. working with rather a smaller brush, with which you will form the
broken parts of the thatch, the dark parts of trees, rushes, &c. in the foreground,
using it exactly as you have been taught to use the dark pencil in our preceding
drawing.
If you had not been taught how to make touches on the buildings to shew what
they are formed with, I should have mentioned it here; but it is impossible for a
person who has made so many drawings from good subjects to require direction on
this point. I have before observed that Indian ink is not so much used as a
colour called sepia, and you will see by the marine view, Plate XCVI. that it is a
more clear and transparent tint. I have sent this subject, consisting for the most part
of sky and water, for your second drawing, because I am aware that you will find
sky most difficult to execute.
After you have drawn the outline of the subject, and sketched lightly the form of