HERAMIC STUDIO 
i6i 
The other countries had of course a few ceramics here and 
there, more or less clever, usually less, but nothing distinct- 
ive. 
We may have missed some things worthy of mention 
but as we have conscienciously looked for and examined 
all exhibits that we could find, we may be forgiven for 
small omissions. 
This then sums up the work in ceramics at the St. I^ouis 
Exposition and we trust our readers have gained not only 
information but inspiration from the review. 
STUDIO NOTES 
Miss C. L. Joy, Boston, Mass., has removed her studio 
from No. 3 Park Place to 356 Boylston Street. 
Miss Dorothea Warren, Kansas City, Mo., has gone to 
Munich, Germany, for two years study of design. 
Elaboration is not beauty, and sand-paper has never 
finished a piece of bad work. — William Hunt. 
^' 
GOOSEBERRIES— SARAH REID McLAUGHLIN. 
IN painting the berries work for transparent efi"ects. Keep 
the high lights and shadows clear and retouch with 
clear, clean color, giving accent to lines in the berries. 
Use pointed brush in wiping out high lights keeping them 
crisp. The ripe ones may be painted in Lemon Yellow, Silver 
Yellow, Yellow Ochre, shaded with Olive Green, touches 
of Pompadour in ones not quite ripe strengthened with 
touches of Chestnut Brown. Others in Temon Yellow in 
lightest tones, also a little yellow Green and Brown Green 
in one not ripe. Usual greens are used in leaves with Yellow 
Brown, Chestnut Brown and Pompadour where old and 
withered effect is desired. 
The background may be treated in same color, keeping the 
main part of the design sunny using Egg Yellow, and Yellow 
Brown, keeping the rest of the design in harmony with back- 
ground. 
Strengthen above colors in second firing, giving accent to 
detail. 
