20 
KXRAMIC STUDIO 
but care should be taken to exaggerate the contrasts be- 
tween the lights and darks. 
This also applies to the use of green mats. As a gen- 
eral rule, decorations under green mats should have a greater 
preponderance of browns, as the blacks and blues have a 
tendency towards coldness and harshness. The dark blue 
should be sparingly used under the green mat, except in 
cases where an electric or slaty blue is needed. In the fish 
vase, the John Dory might be done entirely in variants of 
red brown and chocolate, with the gills in yellow, and the 
high lights very sharp and prominent, and the edges of 
the lights worked into sharp ridges. The treatment of 
the bird vase for green mat should be exactly the same as 
for white mat, except that in the shading of the white part 
of the birds' bodies, chocolate should be substituted for 
pale blue and olive green. The dark patches on the heads, 
breasts, backs and wings of the birds should be done in 
chocolate shaded with pure black, and lightened in the pale 
parts with a very small admixture of white slip. The legs 
and beaks are in yellow, smartly and sharply touched with 
white. One thing should always be born in mind, and 
that is that effects must be obtained rather by contrasts of 
light and shade than attempts to get color effects. If the 
effect is almost pure monochrome, with a few discreet 
touches of contrasting color, the coating of glaze will pull 
the whole design together and give coherence and richness 
to the whole piece. 
MOUNTAIN LAUREL (Page 3) 
Treatment by Jessie Bard 
CAREFULLY sketch the design in. Paint the leaves 
in first with Apple Green and Yellow for the lighter 
shades and shade them with Shading Green and a little Moss 
Green. Stems are of a reddish tone; for this use Blood Red 
and Apple Green; shade stems with two parts Blood Red 
and one part Violet. 
Wash in the centers of the flowers with Lemon Yellow 
and just a touch of Apple Green, the tip edges of flowers 
with thin wash of Rose. In this study the flowers have a 
delicate outline of Fry's Grey for Flesh. 
The background may be put in the second fire. Use 
Apple Green for general tone used very thin; add a little 
Violet to it for under the blossoms. Touch up flowers where 
the design needs strengthening. Stamens are made of Yel- 
low Brown and a little Brown Green. 
PUFF BOX (Page 8) 
Treatment by Jessie Bard 
LAY in stems, leaves, outline of blossom and all dark 
parts on lid with Gold. 
Second Fire — Flow Opal Lustre over all background 
quite heavy. It does not matter if it is not very even; it 
helps to give a more pleasing effect. 
VANITY OF VANITIES— D. M. CAMPANA 
VANITY of Vanities. The present decorative plaque 
represents the frailness of youth and vanity. The 
figure reclines over the urn of past memories, of past 
triumphs, of which nothing remains but the ashes. The 
symbol of Vanity is represented by the suggestion of a 
conventional Peacock feather, complying with the round 
shape of the plaque. The coloring of the decoration is as 
follows: The general shading is in a bluish violet, and 
the outlining in black, and the general light tint in Imperial 
Ivory, applied all over in the last firing. The outlining is 
applied in the first firing, the violet shading in the second, 
and the general tint on the third. The dark eye of the pea- 
cock feather is made in peacock green, rather heavy. The 
general color effect of the whole plaque is new, artistic and 
very odd, and the subject being in flat tones can be easily 
reproduced. Figure painted from life. 
