HERAMIC STUDIO 
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color as in form. The lower part of stems might very well be 
made less conspicuous in color, fading away to the tone of the 
leaf where it passes under it. This would help also to kee]) 
the roundness of the pitcher. A good color treatment for this 
design would be as follows : 
Tint the entire pitcher a greyish yellow tone — Neutral 
Yellow or Yellow Ochre with a touch of Black — then fire. 
Dust the same color over the background and darker leaves and 
stems, wiping out the flower petals and the lighter leaves, 
stems and sepals, which maybe painted lightly with Moss Green. 
Use this light green also for light bands around top of pitcher, 
also the htmdle, the darker bands should be painted thinly 
with Pompadour touched with Black, dust this reddish tone 
also over the already dusted background at the base of the 
pitcher and over the lower stems and band at base, first paint- 
ing them with the green; the darker green leaves and stems 
will be of the same green painted a little heavier and dusted 
lightly with the red — outline in a mixture of the green and red 
making a rather warm brown green. If after the second fire 
the colors do not quite harmonize the whole effect can be 
brought together bj^ a last dusting color, of whatever tone is 
too weak. 
Problem II: A symmetrical arrangement of a flower 
form in a panel, pajdng special attention to the same points as 
Figure 4. 
Prob. I. Fig. 4 is a direct application of this problem with 
the addition of color. It will be easy to adapt this design to 
any form of pitcher by simply lengthening or shortening the 
stems and letting them and the dark panels follow the perpen- 
dicular of the piece to be decorated, leaving any widening or 
changing of space to show in the light panels only. A good 
color scheme for this pitcher would be as follows: Tint the 
entire pitcher an ivory j'^ellow and fire. Tint the light panels 
again, leaving the flower as it comes from the fire. Tint the 
darker panels and handle j^ellow brown, the leaves and stems, 
the same with a darker brown added, outline in brown slightly 
darker — or if green tones are preferred, the darker portions can 
be executed in varying shades of green, A third fire in which 
Problem II. Figure 2. 
the piece will have a dusting all over of either ivorj^ 3?ellow or 
light green would bring the piece well together or if the color 
does not just please when it comes from the second fire, a 
Problem IV. Figure 5. 
