164 
ftERAMIC STUDIO 
N 
PLATES, ETC., PINE CONE MOTIF 
Elizabeth Stoner 
i — White and gold, used with agate burnisher. Work 
out the lines on the cone after the gold has been 
burnished in the usual manner. 
No. 2 — Outline design in Finishing Brown and fire. 
Tint the plate in ivory made by mixing two parts Lemon 
Yellow, one part Yellow Brown and a tiny touch of Black. 
Clean the panels and wash in a flat tone of Yellow Brown, 
padding with a small pad if necessary to even the color; fire. 
Paint in the design in Hair Brown in a flat even tone, mak- 
ing the cone a shade darker than the spikes, or if a richer 
effect is desired use gold background for each panel. This 
is effective in two shades of Grey Green and gold background 
in panels and brown cones. Outline in Black. 
No. 3 — Outline in Black, excepting the cone, which is 
gold. Fire. Tint the plate in a light tone of Grey Green, 
using Shading Green and a little Moss Green applied very 
thin. Clean the gold. Fire. 
Retint the panel in a darker shade of Grey Green and 
paint the stems and spikes about two shades darker, retouch 
the gold and fire. This design is very good in gold and 
white omiting the panel. 
No. 4 — Same treatment as No. 2 or 3. 
No. 5 — Same treatment as No. 2 or 3 or in gold and 
white omiting panel. Medallions can be brought out in 
same coloring as plates No. 2 and 3 using a gold or a lustre 
background or can be worked entirely in lustres and gold. 
No. 6 — This design will adapt itself to many tall shapes 
in steins, vases, pitchers, etc., lengthening or shortening the 
connecting stems as the space requires. 
Outline in Black excepting cones which are gold and 
carry the remainder of the design in the two shades of Grey 
Green or in Yellow Brown and Hair Brown. 
PECANS (Page 160) 
Jeanne M. Stewart 
PALETTE for leaves: Yellow Brown, Wood Brown 
Yellow Green, Brown Green and Chestnut Brown 
Palette for nuts; Yellow Brown and Stewart's Pom- 
peian, Wood Brown and Chestnut Brown. 
The hull of the pecan before bursting is green, bordering 
on the browns; after bursting the inside of hull shows a 
yellow brown tone shading into grey, while frequently the 
edges are a brilliant yellow. Egg Yellow touched with 
Yellow Red would give the right color. 
The nut itself may be painted with a mixture of Pom- 
peian and Wood Brown in very thin wash shaded with 
Pompeian and Stewart's Chestnut Brown, with very dark 
accents, while high lights may be brushed over in the second 
fire with a thin wash of Banding Blue. The background 
should be carried out in the same browns used in nuts but 
darker. A dry dusting will greatly improve the effect of 
this design. 
HORSE-CHESTNUTS (Page 161) 
Jeanne M. Stewart 
THIS design can easily be adapted to nut bowl or plates 
and the following colors may be used : Yellow Green, 
Turquoise Green, Brown Green, Shading Green, Yellow 
Brown, Wood Brown, Chestnut Brown, Pompeian and 
Ruby Purple. 
The leaves and hulls should be painted in the dull 
greens; the nuts and stems in reddish browns. The nut 
being smooth and glossy the high lights should be sharp 
and decided. 
The background is most effective carried out in the 
darker browns. Buds are shaded with Ruby Purple and 
Pompeian. 
i? & 
CHILD'S CUP AND SAUCER AND PLATE (Pages 174, 180) 
A. Edna Evans 
FOR cup and saucer. All outline, the distant landscape 
and the child's shoes and wide bands and handle 
are painted with Banding Blue, a little Deep Blue Green 
and a touch of Black. Fire. 
Second Fire — Background back of figure, Apple Green 
and a little Black and paint a thin wash of blue over child's 
dress. 
Plate — Paint bands and figures with the blue and fire. 
Second Fire — Background of the green beginning with 
a very thin wash at the top and heavier as indicated in the 
study. 
