This section is from the book "Complete Self-Instructing Library Of Practical Photography", by J. B. Schriever. Also available from Amazon: Complete Self-Instructing Library Of Practical Photography.
Flesh Tint. - Mix crimson or rose madder with yellow ochre until it gives the natural creamy tint. For darker complexions add a little raw sienna. When a satisfactory flesh tint has been obtained it must be applied over the entire flesh surface.
Cheeks and Lips. - When coloring the cheeks and lips, add a little vermillion to your flesh tint.
High-Lights. - In working the high-lights take a clean stump and rub it well over the high-lights; then take a little Naples yellow and rub over the same surface.
Flaxen. - For the producing of this color, use yellow ochre, and for the shadows add to this a little burnt sienna.
Auburn. - For this color use burnt sienna, and for the shadows add to the above a little ivory black.
Black. - For jet black hair add a small quantity of black to any of the above mixtures.
Grey. - For grey hair add a little cobalt blue to the colors prepared for black hair.
The coloring of the background is not difficult, but success can only be acquired by practice. Observation of paintings and colored reproductions will materially aid one to secure correct ideas of color rendering. Plain and figured back grounds, varying in tone from the extremes of both warm and cold, may be colored by properly combining different pigments - such as, burnt sienna with a little black, Prussian blue with yellow ochre, burnt sienna with yellow ochre, etc.