KERAMIC STUDIO 
67 
A GROUP OF GEESE (Color Study) 
Joseph T. Pearson, Jr. 
CHINA TREATMENT— JESSIE M. BARD 
Tj^OR a vase or tile: Sketch design in, paint in the background 
-T first thing you do; use Yellow Brown, Brown Green, 
Shading Green, Violet, then the Green with Yellow, Mauve, 
Shading Green and Copenhagen Blue; the bills and feet are 
Yellow Brown, Auburn Brown ; leave the white lights to be 
painted over with Yellow in second firing. Second Firing: Use 
same colors as used in first fire. 
WATER COLOR TREATMENT— RHOD A HOLMES NICHOLS 
THE central bird stands out on account of the detail 
and action and also because it is highly modeled, 
while the other birds are comparatively flat. And the 
strong modeling of the central bird prevents the whole 
group of geese from appearing as a silhouette against the 
dark background. It is not easy to make a figure of such 
even tone as is this bird appear solid, especially against 
a dark background, but the absolute fidelity of the tones 
has helped this. In fact you will find in this picture that 
a great many difficult feats of painting have been bravely 
tackled and successfully carried out. 
As a striking contrast to the ponderous slow-moving 
geese are the small, chattering red-winged blackbirds in the 
branches of the trees. Everything about them suggests 
noise and quick motion so that our eyes return thankfully 
to the peaceful old geese. 
It is a difficult thing to make the large proportion of 
white harmonize with the warm, dark background, but 
this is done by making a warm tone run through the whole 
picture, bringing the lights and the darks together. In 
fact the whites are not really white at all, but a half tone 
very much deeper than the white mount of the picture. 
They are warm in color and exquisite in quality, much 
more gratifying to the eye than the sharp coloring of high 
noon. You will find it easier in painting such a picture, 
where the whites are low in tone, to lay a wash of some 
color, in this case Burnt Sienna, over the whole paper. This 
wash should be put on after the geese are drawn in, and 
where the color is too strong for the white of the birds, it 
can be sponged down or worked off with a bristle brush. 
This will give a quality to the white which cannot be ob- 
tained by a thin wash of very pale color. Over this white 
you can paint your bird, leaving the tone of the paper where 
possible. 
For the warm grey use Burnt Sienna, Alizarine Crim- 
son, Antwerp Blue and Lemon Yellow. A little Chinese 
White mixed with some warm color can be used at the 
last for the accents of light on the wings and head. Or, 
instead of using the Chinese White, you may leave your 
paper white from the start. You will not, however, find 
this so satisfactory, as the picture will be less strong. 
The foreground carries out the whole scheme of the 
picture, the red soil making an excellent background for 
the legs and bills. Had the artist chosen to paint the rank 
green so often seen in close proximity to the water, it would 
have been an inharmonious note and have divided the pic- 
ture in half instead of completing it. 
Paint the background with Burnt Sienna, Black and 
Antwerp Blue. The clouds should be painted with 
Cadmium and Burnt Sienna, and the sky with Antwerp 
Blue. The foliage is of the same color as the foreground. 
For the water use Burnt Sienna, Antwerp Blue and Black 
and let the tone of the paper show through in places so that 
it will not be too solid. 
Be careful not to get the picture too warm in tone. 
Although the whole scheme is rich and warm, there is a 
note of warmish green blue running through the picture, in 
the sky, in the water, and there is even a faint suggestion of 
it in the geese. 
STUDIO NOTE 
Edw. Christman formerly with Coover Studios and Dud- 
ley Crafts Watson of the Milwaukee Art Institute have large 
classes in cartoon work at the various Y. M. C. A's at Great 
Lakes, 111. They are teaching the "Jackies" the art of illus- 
trating their letter "home" with a fountain pen and also how 
to keep a sketch book diary of their war experience. 
COLOR STUDY— KERAMIC STUDIO PUB. CO. 
Flower Girl in Holland — George Hitchcock 
Size 12 x 65 — Price 50 cents 
THE CHERRY COLORS 
China Colors for Painting and Tinting 
Special Colors for Dusting 
THE MOST POPULAR ENAMELS 
ON THE MARKET 
We will sell from our list as long as the war lasts 10 enamels listed 
at 15 and 16 cents for $1.20 net 
Six enamels listed at 18 and 20 cents for 90 cents net 
Your choice 
Send for Complete Price List 
The Robineau Pottery, Syracuse, N. Y. 
GLASS COLORS ! 
We will sell from our list as long as the war lasts: 
12 transparent colors, your choice, except Ruby and Purple, for $1.20 
12 mat colors, your choice, except Ruby and Violet, for 1.10 
13 enamels, the full list, for i.io 
6 lustre bottles, Iridescent Yellow, Mother of Pearl, Rose, 
Amethyst, Turquoise. Royal Green, for 1.60 
PRICES NET 
Send for complete price list. 
The Robineau Pottery, Syracuse, N. Y. 
