34 
KERAMIC STUDIO 
BOWL, VIOLET DESIGN— HANNAH B. OVERBECK 
VIOLET DESIGNS 
Hannah B. Overbeck 
VIOLA palmata, the common blue violet of hackneyed 
poetic fame for beauty, modesty and all the catalogue of 
virtues, is in reality the most aggressive member of a large 
and not particularly well known family. As a proof that 
it is not the timid shrinking thing of the poetic imagination, 
notice the completeness and rapidity with which hordes of 
these plants take entire possession of road-sides, lawns and 
woodland. However, the student of botany is acquainted 
with a number of other species of the violet family that are 
more graceful and more interesting subjects for the decorator 
and designer. 
From a correct botanical standpoint it will be noted 
that the common blue violet has no stem above ground, 
all the leaves and flowers coming up directly from the root 
stock. It is found in a variety of colors ranging from a 
delicate sky blue to a deep reddish purple, variable but 
always with the brownish purple marking on petals and the 
white beard in the center hiding stamens and pistil. The 
bird foot violet is similar in growth but the leaves are parted 
as the name would indicate and in the common variety the 
flowers are light blue. 
The other violets of this locality have a stem above 
ground. The first leaves of all varieties having entire leaves 
are heart shaped. The stalk of the yellow violet stands erect 
and the edges of the leaves have a sort of frilled appearance. 
The flower has a very short spur. The color of the pencilling 
on the petals is repeated in the brownish purple of the lower 
part of the plant stem and the stems of the lower leaves. 
The little pale violet is the most dainty member of the 
violet family. The foliage is fine, the flower a delicate 
cream with bearded throat and the characteristic purple 
lines. The plant branches freely, is almost creeping and is 
a greyish blue green in contrast to the vivid green of the 
blue and yellow species. The color of the foliage of the long 
spurred violet is much like that of the pale violet with a 
brownish color on the lower parts of stems. The flowers are 
a pale red purple with deeper splotches of the same color 
on petals at mouth of the flower. It also has the brownish 
purple lines on the petals. It is interesting to note the 
sepals, the way they are set on the flower, and the difference 
in the different species. The stipules clasping the stems at 
the joints make another interesting study. 
BOWL 
OUTLINE with Dark Green No. 7. Paint flowers in 
Imperial Ivory, leaves and bands in Yellow Green and 
Dark Green No. 7, using one-third of latter. Tint background 
panels in Dark Green No. 7. Paint all parts delicately and 
leave remainder of bowl without color. 
PLATE BORDERS (Page 33) 
IF design is to be outlined, outline each part in a darker 
shade of the color used on that part. Outline parts 
and after that is dry paint darkest parts of design in Violet 
No. 2, and one-third Pearl Grey. Paint other parts of de- 
sign with Olive Green to which [has been added one-third 
Pearl Grey; put a tint of Pearl Grey on background. For 
second firing dust the background with^ Pearl Grey and 
strengthen other parts but make no color strong. 
PLATE BORDERS (Page 27) 
IF design is to be outlined, do so in Copenhagen Blue. 
Paint the darkest parts of design in Copenhagen Blue; 
all other parts of design in Copenhagen Blue and Grey for 
Flesh, using one-half of each. Tint background with Grey 
for Flesh. 
BUCKLE DESIGN (Page 40) 
PAINT dark parts in Copenhagen Blue; paint lightest 
parts in Dark Green No. 7 and other parts in Olive 
Green with Dark Green No. 7 added to make a grey green. 
The narrow spaces about edge and between different parts 
of design may be in black or gold. 
