KERAMIC STUDIO 
129 
CLUB NOTES 
The first regular meeting of the Chicago Ceramic Art 
Association for the season of 1 904- 5 wil be held at the Art 
Institute, October ist, when the officers for the current year, 
as elected at the last regular meeting of the Association held 
in May, will be installed as follows: President, Mrs. Marj? J. 
Coulter; First Vice-President, Mrs. Almira B. Ryan Second 
Vice-President, Miss Minnie C. Childs; Recording Secretary, 
Mrs. Lula C. Bergen; Corresponding Secretary, Mrs. Laura 
Norton Starr; Treasurer, Miss Brideen T. Kavanaugh; Histor- 
ian, Mrs. John C. Long. 
The growing interest which the study of design has given 
to a higher standard all over the world has made many dubious 
about attempting work in a new line but we feel we must 
enter upon this work with more enthusiasm than heretofore 
and at the next meeting of the cIuId a course of study will be 
adopted. The members are looking forward to this contem- 
plated line of work with a great deal of anticipation. 
Laura Norton Starr, 
Cor. Secy. C.C.A.A. 
*'DAWN" (Supplement) 
TREATMENT FOR WATER COLORS 
Harriette R. Strafer 
MAKE a very faint outline in lead pencil, indicate the 
draperjr by a line here and there, suggest the horizon and 
clouds by very faint lines. Use a medium smooth piece of 
Whatman's water color paper, thoroughly wet the paper on 
both sides. Lay perfectly flat over a wet blotter or piece of 
muslin cloth and paste down the edges to the drawing board, 
smoothing the surface with a dry cloth to take out wrinkles 
and to take off the surplus water. Cover the entire surface of 
the picture with a wash of Ught yellow. For the flesh tone use 
Indian Yellow and Liglit Red, or if greater permanency is de- 
sired use Aureolin Yellow. For the shadows use Indian or 
Light Red, and Cobalt Blue with burnt Sienna in the darker 
parts, and with Yellow in the reflected lighter places. Lay on 
the shadows with a full brush of color and blend with another 
brush, filled with clean water, which you must keep ready for 
use. Put the shadows in the drapery with Purple and Greenish 
tones, going over the Hghts with Yellow. Paint the sky with a 
good wash of Aureolin Yellow, shading into orange, touch in 
the clouds with purple while the paper is still wet. Let the 
sky run down into the background, and paint in rich purples 
and green, with touches of burnt Sienna, Orange Cadmium and 
Crimson Work the colors with plenty of water one over the 
other until a i-ich deep effect is produced, intended to represent 
twilight. Go over the flesh with Rose Madder and Yellow, 
where needed, blending in with the background color. 
The whole picture should be finished before the paper is 
thoroughly dry with the exception of a few sharp touches in 
the drapery, and a little white which can be used in the lights 
of the drapery. 
In the picture the flesh tone has been printed a little too 
pink, especially in the bust, and in the original the drapery 
covers the bust and upper part of the body in liglit filmy folds 
which have been lost in the reproduction Making the back- 
ground deeper in tone and supplying the drapery- across the 
bust will improve the picture. 
TREATMENT FOR MENERAL COLORS 
This IS a very interesting study for decorative purposes 
and when the full figure is not desired the head with a bit of 
the fine background makes a very effective round or square 
medallion. In the process of reproduction the shading on tlie 
bust w'as lost somewhat thus giving an effect of greater fulbiess 
than is desirable, also the red in the flesh was too strongly used; 
remember these two points in cojiying the figure and you wiU 
be well pleased with the result. 
First make a careful tracing of the figure on a gelatine 
tracing paper, making all lines dotted, marking on the dark- 
side of edges. Fix this in position on your piece of China 
with two pieces of gummed paper at the top, so that the trac- 
ing can be lifted to see if it is correct. Take a i)iece of light 
lyrown wrapping paper about two inches square; rub a little 
of the medium well into it. Then take a soft lead pencil and 
blacken it well This can be used from time to time by rub- 
bing afresh with a A'ery little medium on a rag. Slip paper 
under the tracing, the blackened face to the China, and go 
over the tracing with a steel or ivory tracer, moving the 
leaded paper from place to place as your progress, looking 
beforehand to see if all the drawing in that section has been 
traced. When the outlines are transferred to the China in 
this way, talce a fine liner and go over the drawing with India 
ink. Remember to make all lines dotted so that you can see 
if all color is well blended and no hard lines left at edges. 
Now wash off your china with spirits of turpentine, and you 
are readj' to begin to paint. 
Now cover the backgroimd with a thin wash of medium, 
padding lightly with finger to make it even. Use spirits of 
turpentine in your brush with medium. Take your large 
square shader and brush tender shadow into the background 
all ovei-. Into this work Albert yellow, yellow l^rown, blue 
green, violet and finishing brown. Take your largest stippler 
and blend one color into another, working from the j^ellow 
into the blue. This will make a rather bright background 
for the first fire which will be toned later. When this is 
sufficiently blended, wipe oft" the figure, drapery, &c., so that 
they will be free from color, with the exception of a little left 
over the edges of the hair If you are a beginner, it will be 
safer now to dry the china over an alcohol lamp or in the o\'en, 
to keep safe from dust or rubbing with the fingers. 
Now treat the figure with medium, as in the background, 
padding even with finger. Take your largest miniature 
brush and paint over the parts in light with local fle.sh No. I, 
over the parts in shadow with reflected hght, and break iii the 
half tones between Hght and shadow with tender shadow. 
Put Pompadour No. 2 in cheeks, ears, tip of nose, chin, finger 
tips and all rosy parts. Work rapidly and lightly and do not 
try to blend smooth. Put tender shadow on eyebrows and 
wherever the flesh and hair meet. Now take your fourth size 
stippler and go lightly over flesh until blended softly stippling 
the clear flesh first, then the tender shadow, and last the 
reflected hght. After this is pretty weU blended, take a 
smaUer stippler and model the form, taking out the high lights. 
If the color seems to blend off too freely, wait a little till it 
dries somewhat. The beginner can stop here with the fle.sh 
before firing, if she does not dare to work over the flesh. Of 
course the features will have to be worked up somewhat as 
described later. The more advanced can now take a No. I. or 
No. 2 miniature brush and strengthen the shadows on the light 
side of face and figure with tender shadow, on the shadow side 
with cool shadow, a little more Pompadour 2 in cheeks if 
necessary. Make the brush strokes follow the forms of the 
muscles. Stipple lightly immediately after laying in color to 
avoid hard lines. After the figure is modeled as well as pos- 
sible in this way, take finishing brown i and paint in eyebrows, 
eyelashes and eyes, stippling to avoid hard lines. Put a little 
cool shadow on eye balls, and take out high light with cotton 
on the end of a pointed stick. Work up the mouth with 
IK)mpad()ur r. breaking the edges and corners of moutli with 
