Whittock, Nathaniel: The Art Of Drawing And Colouring From Nature, Flowers, Fruit, And Shells: To Which Is Added, Correct Directions For Preparing The Most Brilliant Colours For Painting On Velvet, With The Mode Of Using Them, Also The New Method Of Oriental Tinting ; With Plain And Coloured Drawings (London, 1829)

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complete, draw the markings of the red on the tulip, and likewise the
folds or risings on the leaf, if there are any. Take care to have the
markings of the red streaks correctly drawn ; and do not use the
rubber to take out any faint lines, as they will not be seen, or if seen
will be of service when the tulip is coloured.
The small blue ssower is so simple that it requires no direction for
drawing it.
By referring to the next plate, the tulip will be found properly
coloured. As in this, and most os the succeeding lessons, the words
neutral tints will be employed, it will be necessary, before proceeding
farther, to explain them.
All tints are formed by mixing the three primitive colours, red, blue*
and yellow. Thus blue and yellow form a green tint, blue and red a
grey tint, red and yellow an orange; but if red, blue, and yellow are
blended together in such equal quantities that neither of the primitive
colours can be distinguished, they form a tint that is said to be neutral;
and it is with this tint that the shadows of coloured subjects are
formed. Of course the strength and colour of neutral tint can be varied
according to the pigments used in producing them, but they will
always be grey. Flowers being, in most cases, of a semi-transparent
substance, their shadows are less strong, and partake in some degree
of the surrounding colours, so that the neutral tint employed to shade
the ssower must be made to partake strongly of their colour.
In most of the previous treatises that have appeared on ssower
painting, depth of colour is made to stand for depth of shade, and on
this system the dark side of this tulip would be formed by being more