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)

lightest tint is a very saint wash os yellow ochre. This is taken over .
every currant, taking care to leave the space sor the strong light. The
shade is raw sienna applied with great lightness and taste, and sost-
ened very tenderly among the lights, as in all round objects the student
will observe the reflection at the edges os the sruit. The snufss are
formed with sepia.
The first tint sor the red currants is a light wash os lake: this may
be taken over the whole of the sruit, as it will sorm the light which
was lest the colour os the paper in the white currant. The next
tint is lake mixed much stronger, and taken over the whole surface,
with the exception os the strong light. It will be observed that the
veins in the red currants tell light against the shade, therefore a
darker tint os lake must be made, and touches so applied that the veins
may appear the colour os the second tint.
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The last tint is lake mixed to its utmost strength of colour, and put
on nearly opaque : in the darkest part it may be heightened in the
extreme shade by a touch of sepia; with this colour form the snuff.
The student will sind this subject require more ability and patience
than any os the preceding, as there are so many tints to take over a
small sursace, and the light to keep correctly, or the subject will be
spoiled.
The darkest parts os the red currant may be touched with a little