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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sides of the pattern, that the strongest colour shall be at the edges,
and the centre be left nearly white, to give the roundness required.
When the sirst tint is laid on the velvet, take off the pattern, and with
a clean brush raise any part os the pile os the velvet that appears
ssattened by being made too wet. The large pattern must then be
applied to the lower division ; and, as the light yellow is the general
colour, and will tend to heighten the brilliancy os the red that is
laid over it, the same process may be repeated as on the upper
division.
Any person, with the least knowledge os colouring, will be able to
finish the subject without the necessity os cutting more patterns; but
where this talent is wanted, a pattern must be cut the exact size os the
lightest tint of red: in the upper and lower divisions the red must be
a light tint of crimson. When the words light tint are used in velvet
painting, it does not mean that the colours are to be diluted with
water to render them lighter (as that, in many instances, would spoil
them), but that they are to be laid on with a much lighter hand, with
very little colour in the brush, and that, by working, to be spread over
a larger space. The student will see that is the colour is brushed
over the whole space indiscriminately, it will make a hard ssat space,
that will not blend imperceptibly into the yellow. This can only be
essected by beginning with the brush, when silled with colour, on the
dark side, and brushing towards the centre. As the colour gets out
os the brush, the tint will, os course, become lighter, and the opposite
side will be beautisully sostened among the yellow.