This section is from the book "Arts & Crafts Magazine Vol1-2", by Hutchinson & Company.
For the flowers of the lightest tint of yellow a general tone of light and dark is first laid in, covering the principal masses within the outlines upon the canvas. For the lighter portions, mix white, pale cadmium (or medium cadmium if a darker yellow is needed), a very little ivory black, and a very little rose madder. The darker parts, including the shadows and half-tints, are laid in with yellow ochre, a little white, and a very little ivory black. Where reflected lights deepen the yellows, add a little deep cadmium to the local shadow tint; and if a still richer tone is desired, a very little burnt sienna may be judiciously used. In some of the yellow flowers, where a greenish colour is seen in the shadows, a little raw umber may be added to the local tone with good effect, and a very little cobalt may' be permitted in the half-tints, mixed only with white and light red.
The leaves and stems are generally a warm green tone; and we shall find a hint of crimson in the calyx. For these greens there will be needed zinnober green (light), qualified by madder lake, ivory black, a little cadmium, and white as may be found necessary. Use a small brush in the drawing of the outlines, and load it well with colour. An excellent effect may be obtained sometimes by employing the edge of a small flat bristle brush, which, although rather stiff, is elastic. This brush, lightly poised in the hand, is held half-way up the handle, and if well managed, the whole of a small leaf or petal may be laid in with one sweep, the colour being dragged quickly over the canvas in the proper direction.
For deep yellow chrysanthemums the palette may be for the local tone: medium cadmium, white, yellow ochre, a little vermilion, and raw umber; for the lights: madder lake, ivory black, white, and light cadmium; for the shadows: madder lake, raw umber, deep cadmium, and a little ivory black. The leaves and stems may be painted with Antwerp blue, white, light cadmium, madder lake, and ivory black, with the addition of raw umber and burnt sienna in the shadows. In the highest lights, where cool blue greens appear, substitute permanent blue for Antwerp blue, making thus a softer grey tint.
A warm grey background may be made by using raw umber, yellow ochre, white, permanent blue, and madder lake, and the same colours will serve for the foreground, with the substitution of ivory black for permanent blue.
For the local tone of blossoms of pure yellow, one may use light cadmium with a little lampblack and a little yellow ochre; in the shadows, which should be kept warm, mix sepia with yellow ochre run in, and the colour deepened with a little rose madder. Over the clean paper the high lights are washed in with cadmium, yellow ochre, and very little lampblack. In parts where soft blue-grey and violet half-tints are seen, lampblack and a little rose madder may be- used, with perhaps a very little cobalt. When the flowers appear richer in colour, showing undertones of pure light yellow, deepening into orange in finishing, a small brush is used, with some sepia cobalt, and deep cadmium, almost pure. Wash the high lights in crisply, using for the palest yellow flowers cadmium and a little sepia, adding a touch of yellow ochre near the centres. Where the petals show pink or reddish tips, the pink lights are washed in at the last, the colours used being rose madder, yellow ochre, and a little lampblack. In the deeper touches of shadow, rose madder, light red, or sepia, and sometimes a little cobalt, may be added to the local tone. (To be concluded.)