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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ticulars the botanist would discover in an instant that the drawing is
unnatural and incorrect.
There will be no necessity sor going into the detail os drawing the
two remaining groups, as they must be produced in the same way as
the preceding; and when the whole are drawn, the stem must be
strengthened with the pencil, to correspond with the group os blossoms,
which will, by this means, become connected, and sorm one group.
The light and shade os this subject are sormed with a warm neutral
tint, composed of lake, indigo, and umber, mixed in due proportion, so
as to form a warm grey tint. With this go over the whole of the
leaves sirst, and then over the blossoms that are in shade, taking care
to have a clean brush ready, with clean water, to soften oss the edges.
The whole os the stem may likewise be coloured with this tint. When
the sirst shade is quite dry, with the same tint sorm the second shade;
that previously put on will then be the middle tint: but neither of the
shades on the blossoms must be so dark as that put on the leaves, as
the slower is more delicate and transparent while the leas is nearly
opaque.
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It may be asked by the student is there are not three gradations os
colour on all subjects, namely, light, shade, and middle tint. The an-
swer to which is, that in flowers, and other subjects, where there is
great variety os colour and transparency, the three gradations are not
so well defined ; the middle tint, in some cases, requiring to be lighter