lO 
tliERAMIC STUDIO 
SPIDERWORT 
Emma A. Ervin 
THIS bright little flower seems deserving of a more attractive 
name and the common one of " Widow's tears " is even 
less attractive. The flowers I have found last summer from 
red to deep royal purple in color, making the plains quite blue 
with their abundance. Their simplicity is easily adapted to 
conventionalism both in color and form, the flowers being 
entirely blue with the exception of the anthers which are 
bright yellow on hairy stems of blue. The long jDointed leaves 
seem to spread themselves so proud like to show the flowers, 
and are quite decorative in themselves often curling inward 
at the end. 
STUDY OF GRAPES (Page 15) 
Maud E. Hulbert 
THE light grapes may be green, use Moss Green, Yellow 
Green, Brown Green and Shading Green, Warm Grey and 
Yellow Ochre. The darkest grapes blue. Deep Blue Green, 
Brunswick Black, Deep Violet of Gold and some Violet of Iron 
in the shadowy one and in the ground. The leaves a blueish 
green in the light and where the leaves turn over; browner and 
warmer greens in the deep places, use Deep Blue Green, Moss 
Green, Yellow Green, Brown Green and Shading Green, a little 
Chestnut Brown and Finishing Brown. 
NUT BOWL IN FRENCH CHESTNUTS (Page J 9) 
Jeanne Stewart 
THIS bowl will be more effective if painted in the dark 
brown tones in underglaze effect. The burrs should be 
painted in the soft dull greens shading into brown, using 
Yellow Brown, Brown Green, Pompadour and Chestnut Brown, 
with almost the same tones in the leaves. Inside the burr 
is to be seen sometimes a brilliant yellow which serves to throw 
out the dark brown of the nuts. Care must be had to use but 
a touch, a mere accent, as the inside of the burr is dull yellow 
brown shaded with a warm grey. Pompadour and Chestnut 
Brown are used in the nuts with high Hghts wiped out, over 
which a thin tone of Banding Blue is drawn in the second 
painting. Yellow Brown and Stewart's Chestnut Brown alone 
may be used in the background — the middle tone being made 
of a mixture of the two in equal parts. 
To obtain the dark underglaze effect in the background 
pad on the same colors in third fire as used in the second and 
when almost dry dust on the powder color, with a piece of 
cotton, drawing the color lightty over parts of the design 
thrown into shadow. 
PITCHER (Page 12) 
Minna Meinke 
BORDER background a bright green, (Blue Green and 
Apple Green); flowers, Violet with markings of Rose; 
leaves and calyx, Grej^ Green; rose line below edge and on 
handles, body, handles, outlines and edge of pitcher, a rich 
Green Black. 
