62 
RERAMIC STUDIO 
WILD CARROT 
Mary Alley Neal 
AvS this wild flower is sometimes called the Queen's lace 
handkerchief, it is suggestive of soft lace-like edges melt- 
ing into the background. The best way to procure this effect, is 
to paint your background first with an oil (Balsam of Copaiba) 
that will keep your color open a long time to give you the 
opportunity for working your flowers into it while still wet and 
blending the edges with a pad. Take for instance a vase: 
After drawing in your design commence with Shading Green 
and a little Royal Purple to grey it, then Copenhagen Blue and 
Apple Green and Violet, then Grey Green towards the bottom, 
using Balsam of Copaiba at once for the flowers and Ivory for 
lightest tones, adding Yellow or Apple Green for the light 
green tones and Copenhagen Blue, Violet and Apple Green 
for the shadow side softening into the backgrounds, painting 
some shadow blossoms right into the background, and wiping 
out or painting in leaves and stems with Apple Green and 
Violet blending into the background at the base. Now put 
in your darkest touches with Shading Green, Brown Green 
and Violet, and take out your high lights sharp and clear in 
the distinct little single flower forms that go to make up your 
broad mass. As your background is of grey greens, cold 
in tone, your flowers should be warm in tone on the light side 
and a warm yellow and yellow green should predominate 
with the soft grey greens in shadows. When dry, dust with 
same colors used in painting. In the second fire you will have 
to darken the backgrotmd and work in a little more detail 
to the flowers and accent the stems and leaves. 
BOWL, OLIVE SHERMAN 
CORRECTIONS 
The golden brown mottled glaze stoneware jar attrib 
uted to Mr. Whalley in the account of the N. Y. Societ> 
exhibition was the work of Miss Maria Jordan of Portland, 
Me. The plate attributed to Mrs. Price was the work of 
Mrs. Marie Crilley Wilson. 
WELSH RAREBIT PLATE (Supplement) 
Helen S. Palterson 
TINT the entire plate a deep cream tint, using Yellow 
Ochre with a touch of black. After firing execute 
the design in two shades of Delft Blue, making the darkest 
tone a trifle purplish by adding a touch of Ruby Purple. 
The darker tone may have to be gone over in a third 
fire. 
WILD CARROT— MARY ALLEY NEAL 
