236 
llERAMIC STUDIO 
porting nothing, and distracting to behold. Never "see" 
your stem first; if you do, tone it down. Let the flower 
be the point of interest. When the motifs are all painted 
in, put the gold on the edge and anywhere else it may be 
required, and after drying the plate is ready to be fired. 
When it has been fired the roses should be a clear, soft 
pink. If it has been overtired, they will be more or less 
lilac in tone. If underfired, they will appear a sort of dull 
salmon or brick color. This is the least serious fault, for 
it may be refired and the pink properly developed. If 
overtired, the purpling is more difficult to manage. Some- 
times the piece may be pulled through by washing over 
all the light parts with a very thin transparent wash of 
Albert Yellow, retouching the centres and other places 
with rose. 
For the second painting of the plate, flush the centres 
of the roses with a wash of peach-blossom to deepen them 
somewhat, keeping your deepest color in the heart of the 
rose and softening it toward the outer edge. Wash a 
little more color on the under side of the "ball" of the 
flower. Add a little also to the shadow just under the 
"ball." Leave the high lights just as they were. 
A great mistake in painting flowers is to go over 
everything in the second painting. Much that is lovely 
in color is lost in this way. 
Begin with the shadows first. After strengthening 
the weak parts, you will find that much of your first paint- 
ing will stand just as it is. 
In retouching the leaves, do not go over the green 
unless very much fired out. Simply accent the darker 
places a little more, so that even though rather flat in treat- 
ment, the little leaves are crisp and full of quality. Make 
the stems just a little darker where they join the flower. 
The briars too will need some slight retouching. Be care- 
ful, as already explained, to keep this part of the design 
subordinate. 
Go over the gold again and the plate is ready for its 
second and last firing. Aim to keep the roses delicate and 
suggestive. The leaves should also be painted with color 
which is toned or greyed and not with raw greens. There 
is perhaps no other flower so beloved by china painters 
as the rose. Painted in this soft suggestive way it is "a 
thing of beauty, and a joy forever." There is simply no 
limit to the decorative quality of this "queen of flowers," 
when used in the "pattern" or compromise manner. 
SALVE BOX— CHARLES BABCOCK 
PUFF BOX, CALACYNTHIS— ALICE SHARRARD 
Treatment by Jessie M. Bard 
OUTLINE design in Gold. Second Fire— Tint back- 
ground with Pearl Grey and a little Yellow. Dry 
thoroughly and paint all dark part of design with one part 
Yellow Brown and one part Pearl Grey. Allow it to 
dry and paint center of flowers and stem with Albert 
Yellow. Petals and leaf a delicate Pmk, using thin wash 
of Blood Red or Pompadour. 
«r if 
BLUE BELL DESIGN (Page 234) 
Treatment by Jessie M. Bard 
PAINT in bells with Banding Blue and a little Violet. 
Stems Moss Green and a little Violet and add a little 
Shading Green for the leaves. Pendant bud, a thin wash 
of deep Blue Green. If a background is desired a very 
thin wash of Pearl Grey. A little Sea Green may be added 
in the second fire and the design gone over with same col- 
ors as in first fire if it needs it. 
SALVE BOX— CHARLES BABCOCK 
Treatment by Jessie M. Bard 
DARK tone one-half Sea Green, one-half Shading Green. 
The grey tone, Sea Green and a little Deep Blue Green. 
Outline Shading Green and a little Copenhagen Blue. 
Second Fire— Tint background with Pearl Grey and 
a little Deep Blue Green. 
