RERAMIC STUDIO 
247 
tinct! Your work may be called monotonous; but one 
tone is better than many which do not harmonize. 
* - 
There is force and vitality in a first sketch from lite 
which the after- work rarely has. You want a picture to 
seize you as forcibly as if a man had seized you by the 
shoulder! It should impress you like reality! Velasquez 
and Tintoretto could do this like no one else — not Titian 
even, whose work was beautifully modeled and colored, 
but had not this quality of instantly seizing and holding 
the attention. I saw a man walk by. I have an impression 
in my brain of that man. I did not scrutinize him. I 
am not sure that he took steps exactly two feet and a half 
long. That had nothing to do with the impressionl In 
your sketches keep the first vivid impressionl Add no 
details that shall weaken it! Look first for the big things! 
— VVm.. Hunt. 
CONVENTIONALIZED FLORENTINE DESIGN— D. M. CAMPANA. 
This conventionalized figure design was awarded the 
gold medal at the Lewis and Clark Portland exhibition. 
Eight figures, some dressed in white and some in darkest 
green, alternatively arranged, form the decorative motive. 
The background is of pale yellow green, with all-over con- 
ventionalized small daisies. 
FLAMING BUSH 
Henrietta Barclay Paist 
THIS is a most beautiful plant in color, and the finish is the 
texture of wax. The foliage at this stage has turned to 
the autumn tints and has almost the brilliancy of sumach — for 
painting in mineral colors use Yellow Ochre Yellow Brown, 
Albert Yellow, Pompadour or Deep Red Brown with touches 
of Blood Red and Sepia with the exception of the bunch to 
the extreme left, the leaf at the top and one in the right hand 
group, which are still green, put in the olive shades touched 
with Sepia. Stems same tones as leaves. 
The berries and fruit are painted with Blood Red, Deep 
Red Brown and Carmine 53, Dresden (or any good) Pink, 
with a touch of Copenhagen. The seed pods are very dark 
bright red. Blood Red glazed with Pompadour to Carnation; 
the calyx or shell a mixture of Deep Red Brown and Carmine, 
modeled with Copenhagen on the shadow side. Keep the 
background in tones of Yellow Brown, Sepia or Meissen, 
Blood Red and tones of green, to harmonize with the colors 
in the plant, painting strongly behind the fruit. 
Strive for simphcity! Not complexity! If you are 
going to Africa with a large cargo of merchandise, and you 
learn that, by reaching there on a certain day, you can 
double the price you were to get, throw half your cargo 
overboard, and arrive there in season to get- your double 
price. Don't put needless expense into painting a head! 
Don't try to match tints! Rose and pearly colors blend 
into each other so that no one can unite them if painted 
separately. Keep the impression of your subject as one 
thingl ^gBon't have the face a checkerboard of tints! Use 
such colors as nature uses, but do not try to keep them dis- 
FALL ANEMONE— RUSSELL GOODWIN. 
