Harry Willson’s General Landscape Tints
No. 1.—For foregrounds, and many parts of landscape; architecture; sands; roads, banks, lights of buildings (distant or near), shoal-water, corn-fields:—generally useful from its low brownish hue.
No. 2.—For many of the above purposes; and, being deeper in tone, adapted for shadows to No. 1.
No. 3.—Darker parts of foregrounds, banks, broken earth, waves, bark, timber, rocks, coasts, &c., useful in buildings and architecture. May be beautifully and usefully varied with white.
No. 4.—Lights of mountains, rocks, trees, distant masses of foliage, figures and animals in light, autumnal tints in warm skies and sunsets;—applicable to most purposes of warm light, and to vary greens with.
No. 5.—For almost every part of landscape or buildings; rich lights of earth in sunshine; interiors, drapery;—applicable to numerous purposes, near or distant, and to mix with and vary other colours.
No. 6.—For skies in cloudy weather, and shadows of clouds;—various pearly greys are produced by its mixture with blues and lake. Mixed with burnt sienna, it produces different degrees of warm browns.
No. 7.—For shadows to mountains, distant clumps of foliage, drapery, &c., for mixing with general shadows: renders many beautiful tints by blending it with lakes blues and browns, especially with burnt sienna.
No. 8.—Used alone, in rocks, bark of trees, and many useful purposes; assumes a variety of browns when mixed with burnt sienna; and different greys, when added to the blues.
No. 9.—Useful in clouds, warm shadows, earth, mould;—mixed with cobalt, makes a good tint to vary other greys.
No. 10.—For skies in fine weather, and to vary shadows of distant hills, and otherwise useful in subduing retiring parts of drawings.