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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kind of drawing, by studying the art in its most simple and useful
form; for though stenciling enables a person who cannot draw to pro-
duce the outline, and, in some cases, the colouring os a subject, it will
always be hard and tasteless ; while the same sacility given to the
student who has attained the power of drawing without it, will enable
him to produce the most beautisul and dissicult subjects with incon-
ceivable elegance and rapidity.
Is this work is required on silk, which is the case in poonah work, a
ground sor the ssowers must be laid, with a strong solution os alum in
water, mixed with a little gum arabic, otherwise the colours will
spread under the stencil, however dry they may be applied.
Muslin requires a ground os isinglass size; it must be laid on very
thinly, and need not extend beyond the outline os the ssower, which can
always be obtained by placing the muslin over the subject to be drawn,
and tracing the outline with a black-lead pencil.
To render the instructions more clear, drawings os the patterns
required sor the production os the damask rose, in velvet painting, are
added. No. 2. is the first pattern for the largest outside petals os the
ssower. The colour should be kept rather stronger at the edges than
in the middle os the pattern : as there is so little colour used in the
brush, this can easily be effected by brushing heavily from the sides,
letting the weight be lighter as it approaches the centre. The
same means must be used with the remaining patterns. The centie,
No. 5. is the bright yellow. No. 6. is the middle tint of the stalk ; the