This section is from the book "Arts & Crafts Magazine Vol1-2", by Hutchinson & Company.
A Good background for our guelder roses would be a light greenish grey, with a tint of purple in the shadows. In oil painting, the palette for this may be permanent blue, white, yellow ochre, raw umber, light red, and ivory black, with the addition of madder lake in the darker and cooler tones. For the flowers you will need white, yellow ochre, a little cobalt, madder lake, and a touch of ivory black. With these make a delicate grey for the light masses; it will give the general half-tint. Use the same colours in the shadows, but with less white and more ivory black; also add burnt sienna. For the highest lights use white and a little yellow ochre, adding a touch of ivory black, if necessary, to correct the crudeness. In the centre a touch of light cadmium may be used instead of yellow ochre. For the leaves - which are rather warm in quality, but of a medium shade, having suggestions of purple at the tips in parts - use Antwerp blue, white, light cadmium, madder lake, and ivory black, with the addition of burnt sienna in the shadows. For the stems, raw umber, white, madder lake, and yellow ochre, with the addition of burnt sienna and a little permanent blue in the shadows.
Paint in the flowers at first in general masses of light and shade, without much regard to the actual details of the flowers forming each ball. Be careful, however, to observe the forms of the shadows where they meet the lights, as this indicates the character of the blossoms. In the first painting do not put in the highest lights or darkest shadows; these, with other details, should be added later, after securing the general effect of colour, form, and proportion.
Semi-conventional Treatment of the Nasturtium.