This section is from the book "Arts & Crafts Magazine Vol1-2", by Hutchinson & Company.
Purple flowers with pink petals and white flowers with pale yellow petals are the varieties of the sweet pea from which our model (see double page) was drawn; they arrange very harmoniously. If a background is needed, a tone of pale amber yellow, rather grey in tone, is effective with such a combination.
In Oil Colours, for such a background one may use yellow ochre, white, raw umber, a little light red and a very little ivory black. The purple petals may be painted with rose madder, white, permanent blue and a very little cobalt. The pink petals are deeper in colour at the centres and grow lighter at the edges. For these use for the local tone, madder lake, white, a little yellow ochre and a very little raw umber; in the high lights substitute light cadmium for yellow ochre and omit raw umber. The deeper touches of shadow will need a very little ivory black and madder lake. For the white petals, lay in at first a general tone, of light, delicate grey, adding the high lights and deeper shadows later. For this grey tone one may use white, yellow ochre, a little permanent blue and a very little ivory black. In the deeper touches of shadow add a little ivory black and burnt sienna. For the high lights use white, a little light cadmium, and the least touch of ivory black to avoid crudeness. The yellow petals may be painted with light cadmium, white, and a very little raw umber for the local tone, with the addition of a little ivory black, yellow ochre, and, if necessary, some light red in the shadows. For the green leaves one may use Antwerp blue, white, a little cadmium, vermilion, and ivory black, in the shadows adding burnt sienna and raw umber, and omitting vermilion. The little pale green tendrils may be painted with light cadmium, white, a touch of vermilion, and a suspicion of ivory black to avoid crudeness.
In Water Colours the same colours as are named above may be used, excepting ivory black, for which substitute lampblack, and instead of madder lake use rose madder. For water-colour painting, too, cobalt will be found generally more advantageous than any other blue when used in combination with the colours given.
Several designs founded on the sweet pea are given in the present issue of the magazine, but they barely hint at the many decorative purposes to which this interesting representative of the garden may be applied. Its climbing and trailing growth, the grace of its clinging tendrils, and its exquisite colouring mark it as pre-eminently suitable for the purposes of the needlewoman; but it is hardly less admirable in its adaptability to textile and mural decoration. The dainty design on the opposite page, by Miss Jean Inglis, for example, was made for silk, but it is easily adaptable for wall-paper. The tendrils of the pea, by the way, are less freely employed in design than they might well be; they suggest almost endless possibilities in the fantastic shapes they assume.
But it is not only in the flat that the decorative qualities of the plant are evident; to the modeller there is a delightful plastic suggestiveness about the sweet pea, especially the pod, with its natural bosses caused by the pressure of the hidden seeds. Miss Inglis's little panel design on this page tells of its suitableness for embossed leather, wood-carving, and relief decoration for various kinds of metal-work, it being,-too, as available in colour for enamels, cloisonne or champleve, as it is in line for chasing or repousse. For light wrought-iron, the sweet pea motive suggests beautiful foliated work for grille, bracket, or lamp pendant; the calyx could be made valuable either in a rounded form or beaten out flat as a relief to the nearly oval-shaped leaves; the stem could be angular.or flowing, fluted or rounded.
The Sweet Pea In Decoration
Border By L. Hopkins. Panel by Jean Inglis.
(For suggestions for treatment, see pages 210-11.)
Repeat Design (Sweet Pea) for Textile or Mural Decoration.
By Jean Inglis.