RERAMIC STUDIO 
241 
Much better results will be obtained by applying 
three or four thin'coats than one heavy coat. 
When firing lustres have heat quite rose color. 
If firing lustres in same kiln with other mineral paints, 
the fumes of lustres will sometimes cause the reds and 
pinks to come out spotty. To avoid this, wrap the lustre 
piece in a thin asbestos paper. 
Mother of pearl is a most valuable lustre in covering 
defects in other lustres which have come out unsatisfac- 
torily, one or two coats giving a beautiful iridescence. 
STUDY OF SHELLS AND SEA WEEDS. (Pa^e 245.) 
Henrietta Barclay Paist. 
The inside of shells with the exception of one to the 
extreme left, pale flesh (use Deep Red Brown), the other 
one pale yellow, (use Lemon Yellow.) The long shell in 
center is pink inside and the outside painted with Yellow 
Ochre and modeled with Sepia and Dark Brown. 
Shell in the foreground with spots, cream white with 
deep orange spots, use Carnation or Capucine or any sim- 
ilar color. The little round shell in the foreground is green. 
Moss Green and Dark or Shading Green. The snail shaped 
shell just behind is yellow, Ochre shaded with Copenhagen 
and Black. Shell to the extreme right. Yellow Ochre 
shaded with Sepia and a touch of Red inside. 
The seaweed is painted with Moss Green and Violet of 
Iron. Ground, Sepia, Dark Green and Yellow Ochre. Water, 
x\pple Green and Moss Green. It is best to glaze with the 
water color after|firing. In this way we avoid mixing or 
smearing the design. 
The underside of shells is painted with Yellow Ochre 
or Yellow Brown, and shaded with Sepia and DarklBrown. 
Let me give you a few simple rules for learning to draw : 
First, see of what shape the ivhole thing is ! 
Next, put in the line that marks the movement of the 
whole. Don't have more than one movement in a figure! 
You cannot patch parts together. 
Simple lines! Then, simple values! 
Establish the fact of the whole. Is it square, oblong, 
cube, or what is it? Keep in mind to look at the map of 
the thing ! Put in all that is of greatest importance at first. 
It will never be the same again. 
Keep things in their right places. 
When values are so nearly alike that it is difficult to 
distinguish them, make them alike, and thus learn to simplify 
your masses. 
* 
You can develop a child's faculties by drawing better 
than by books; and no other study will so quicken his 
perceptions. Pin-holes through a paper give a child a 
better idea of the stars than all the study of astronomy. 
Inspiration is nothing without work. — Wm. Huni. 
BOWL— WISTARIA MOTIF— MARIE CRILLEY WILSON. 
First Firing. Outline design. Fill in black portion 
of design with Copenhagen Blue. Dry thorougly in oven, 
apply thinly a second time, using turpentine to thin color. 
For dark grey portion of design, use two-thirds Shading 
Green, one-third Grey for flesh. 
Second Firing. Take as much Pearl Grey as the end 
of your palette knife will hold, and rub in it as much of Fry's 
special tinting oil as is required to cover surface of bowl. 
Pad very evenly. Lay it aside where it will not be exposed 
to dust, and in 20 hours dust with Grey for Flesh. 
Third Firing. Repeat as in first firing, and in opening 
of petal lay a very thin wash of Ruby. 
Additional color scheme : 
Body of bowl. Soft Grey. Light grey part. Blue Green. 
Dark grey part, Dark Blue. Opening in petal, thin wash 
of Ruby. — Or body of bowl. Black. Light grey part, 
Light Green Lustre. Dark grey part. Orange Lustre. 
Black opening in design, Gold. Outline, Black. Inside of 
bowl. Fry's Opal Lustre. 
