This section is from the book "Arts & Crafts Magazine Vol1-2", by Hutchinson & Company.
The oil colours generally used in painting a deep red rose like the "American Beauty" - or its English equivalent, the "Mrs. John Laing," which it closely resembles - are madder lake, vermilion, ivory black and raw umber, with a little white and yellow ochre in the lighter parts. A touch of cobalt or permanent blue is added in the half tints where certain purplish tones are seen. In the deeper shadows substitute bone brown and permanent blue for ivory black, using with them pure madder lake. A brilliant effect may be produced in the highest light by substituting a little cadmium for yellow ochre, but care must be taken not to get the colour too yellow in quality.
For the local tone mix rose madder, vermilion, yellow ochre and sepia, with a little lamp-black added last. In the half tints cobalt may be used. For the highest lights use rose madder, a little light cadmium, and a very little lamp-black. Run the colours over the paper in separate washes, the yellow first, and the black last, letting each wash dry before applying the next.
Photograph of a Rose: The "American Beauty."
The background - we suggest a not too warm greenish grey - should be put in broadly at the first, with a flat wash of yellow ochre, rose madder, sepia, and cobalt. In finishing, the deeper touches are washed in, and lamp-black with light red may be added to the shadow side of the stems. The deepest shadows in the rose should be reserved until the general effect of colour is obtained throughout. For the green leaves mix a wash of Antwerp blue, yellow ochre, lamp-black, and vermilion; in the high lights, which are cool in tone, use rose madder in place of vermilion, and in the shadows add light red. When the greens are very vivid, light cadmium is substituted for yellow ochre. Wash in the stems with the same colours that are used for the leaves, adding sepia in the shadows. In finishing, put in the strongest touches of colour beneath the rose and between the petals, using rose madder, sepia, and a little cobalt. The highest lights may be taken out with clear water and blotting-paper if they become covered. Keep the washes crisp and fresh in colour.
[Palettes for painting other varieties of roses will be given next month. We are always glad to consider requests of correspondents for special treatments.]