This section is from the book "Arts & Crafts Magazine Vol1-2", by Hutchinson & Company.
These flowers, well illustrated in the large decorative pen drawing given as an extra supplement to the magazine this month, partake of the doubleness of the chrysanthemum, which is different from that of the rose, which we have considered. The petals are so small and fringy that they almost come under the same sort of treatment that has been suggested for the clustered flowers. But the large class to which they belong - which includes also the zinnias and the double dahlias - are really of a type different from any that we have hitherto studied.
In our study the upper flowers are purple, shading to pale violet, with yellow centres; and those of the Large cluster below are pale pink, shading into creamy white, the buds being a darker pink than the flowers themselves.
In Oil Colours a similar group to this was painted with a background of pale yellow qualilied by grey; shadows cast behind the flowers were introduced, greatly enhancing the general effect of the composition. The artist used for the background for the local tone permanent blue, white, light cadmium, a very little madder lake, and a touch of ivory black, adding in the shadows burnt sienna and raw umber. The purple flowers he painted with permanent blue, white, light cadmium, very little madder lake, and the least touch of ivory black in the local tone. For the pinkish-white blossoms he used for the general tone white, yellow ochre, a little permanent blue, madder lake, and the least qualifying touch of ivory black, adding in the shadows, where needed, burnt sienna and raw umber. For the more brilliant pink tones vermilion was added with the madder lake.
The green leaves of the aster are dark and warm in colour, but rather grey in quality; the stems are somewhat darker and more brown than the leaves. For the latter, the artist put on his palette Antwerp blue, white, cadmium, vermilion, and ivory black for the local tone of the leaves, and for the shadows raw umber and burnt sienna; the same colours serving for the stems, with the addition of raw umber for the local tone and more burnt sienna in shading. Small, flat-pointed sable brushes were used for the stems, which required fine lines and careful work.
In Water Colours the same colour scheme may be followed, and, with the few exceptions to be noted presently, the same colours named above for painting in oil may be used. Use the best Whatman thick water-colour paper - the quality known as double elephant. Use lamp-black in water-colours for ivory black in oil, and substitute rose madder in water-colour for madder lake in oil; also replace the permanent blue of oil with cobalt in water-colours. Use large round brushes with fine points and plenty of water for washing in the general tones.