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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that is, colours, which, is used without others more opaque to give
body or consistence to them, would merely tinge the object upon
which they were laid, without hiding the markings beneath them.
When any of the transparent colours are thus used, they are called
glazing, and the subject is said to have a glare os colour put over it.
The larger flowers will be the best subjects for the student in oil paint-
ing to commence. The drawing should be made with a white crayon,
formed by soaking pipe clay in a basin os water till it will roll into
long crayons, about the thickness os a tobacco pipe. Is the painter can
procure pieces of broken plaster sigures, they will answer the same
purpose. It is much better to draw on the canvass with a white crayon,
than with red chalk, as the white will agree with every colour,
whereas the red chalk will soil the more delicate tints, and destroy
them. The canvass must be properly strained, which will be best
done by those that are used to the business. The best colour for the
ground is a light grey drab.
The canvass must be placed properly on the easel, at a convenient
height sor the painter to reach while standing. It is advisable to
paint standing rather than sitting, not only as it is less prejudicial to
health, but because the efsect os oil colours can be best judged os by
receding a short distance srom the subject, which could not be conve-
niently done by the student is he accustomed himsels to sit while paint-
ing, nor could his touch be so bold and sree. The drawing must be as
particularly attended to in this style os painting as in water colours,