I30 
RERAMIC STUDIO 
tender shadow. Use a little pompadour 2 in shadow under 
the lip, in 'nostrils, ears and corners of eyes, and on the breasts, 
just a touch of pompadour i in deepest shadows. For the 
hair use cool shadow on the light side and shade with finishing 
brown (unfluxed). 
SECOND AND TliIRD FIRE. 
If your figure comes from the first fire as it should, the 
flesh tone delicate, the tender shadow rather blue, the re- 
flected light warmer than the flesh and a little too bright, you 
are ready to proceed. Cover the figures with the medium as at 
first If your flesh tone need deepening, go over again with 
flesh l; if your reflected light comes out too cool, brush re- 
flected light over the shadow parts again. Warm up the cheeks 
chin, tip of nose, ears and all rosy parts with pompadour 2, 
but a little more reflected light between eyes and brows, then 
model all the shadows on the light side of face and figure with 
tender shadow. On the shadow side model with cool shadow, 
put tender shadow again along the edge of the hair, unless that 
is already too blue. Now stipple, working from clear flesh to 
tender shadow, from tender shadow to reflected light as before. 
If you find the color blending off too much, wait until a little 
more tacky. When half stippled, that is when you have gone 
over the entire surface with the stippler but have not blended 
completely, strengthen the shadows, adding a little warm 
shadow to the deepest shadows. Model as if painting for the 
final fire. Then stipple flesh till the texture is perfectly velvety 
and shows no brush or stippling mark. 
Before working up the hair, the background should be 
laid in again. Cover as before with a thin coat of oil and 
work in tender shadow bringing it over the edges of hair. 
Model up the hair with finishing brown mixed with just a little 
warm shadow, and in the high lights use a little yellow brown; 
suggest the roses in the hair. When finishing the hair, blend 
the outer edges with a side stroke into the background to avoid 
hard lines and give an atmospheric effect. Where the shadow 
side of the face meets the hair, work a little finishing Brown 2 
into shadows on face and across into hair, to bring them 
together into a vague shadow. 
If you wish the drapery white, wash a little local flesh 
over the light part that goes over the flesh, reflected light on 
the shadow part and tender shadow in the half tones. Stipple, 
then lift out the high lights with cotton on a stick, strengthen 
the shadows with the mixture of apple green and carmine 2 
(making a warm green), use light violet of gold in deepest 
shadows. If you wish the drapery yellow, use canary for 
local tone and light violet in shadows. For pink, use rose and 
a little apple green in shadows. For blue, use turquoise green 
and a little yellow brown in shadows. Always use comple- 
mentary colors in shading. The three primary colors are red, 
blue, yellow. No color scheme is complete without all three 
in some combination. To find the complementary color to 
any one color, combine the other two. 
The eyes can be worked up with finishing brown and 
warm shadow, using a touch of German black in pupils. Stip- 
ple the lashes and ej^ebrows a little, so they will not be hard. 
The mouth will need a little more pompadour i. Stipple the 
edges, not forgetting that you need a little tender shadow 
where the red meets the flesh. A Httle more red in the nostrils 
and ears. Do not forget that the palms of hands and finger 
tips should be rosy, and the bosoms as well, using tender 
shadow to break it into the flesh. 
The third fire is simply for strengthening the work already 
done. Put on the oil as before and work in just' what is needed 
and no more, warming where too cool, cooling where too 
warm, deepening and strengthening shadows and color. Re- 
peated fires give softness. Four or five fires are not too many 
and you will always see something to improve. Be sure j'^our 
first fire is a hard one. Your second can afford to be hard 
too, even if it fires out the painting somewhat. The rest of 
the fires need not be more than ordinary. 
A last word. — Keep colors soft in tone and avoid hard 
EDGES. 
Flesh Palettes. 
DRESDEN 
LACBOIX 
POWDER COLORS 
(Pompadour If ) 
Blonde ] i flux 
( Canary 2 ) 
Carnation 1 ) 
+ flux 
Canary 2 ) 
Flesh 1 
( Pompadour If 1 
Brunette -J flux 
t Yel. ochre 2 J 
Carnation ] i 
i flux 
Yel. ochre 2 ) 
Flesh 2 
(Pompadour 1 
Pomp. 2 
( Flux 1 
Carnation 1 
Flux 1 
Pompadour 1 
( Pompadour 3 
Pomp. 1 
( Flux 1 
Carnation 3 
Flux 1 
Pompadour 2 
(Pompadour If 1 
Reflected i flux 
Light (Yel. brown 2 ) 
Carnation 1 ) 
i fiux 
Yel. brown 2 ) 
Reflected light 
Cool ( Turq. green 1* i 
Shadow I Violet of iron 1 i flux 
1 Grey for flesh 1 ) 
Deep blue green 1* ) 
Violet of iron 1 [ i 
Neutral grey 1 ) flux 
Cool shadow- 
Tenner ( Cool shadow 3 
Shadow < Pearl grey 1 
( Touch of turq. green 
Cool shadow 1 
Pearl gre.v 1 
Touch of blue green 
Tender shadow- 
Warm ( Sepia brown 2 
Shadow • 
( Violet of iron 1 
Sepia brown 1 
Violet of iron 1 
Warm shadow- 
( Finishing brown 1 
Brown 2 , 
(Flux 1 
Brown 4, 1 
Flux] 
Ra%'en black i 
Brown 1 
( Fini.shing brown 3 
Brown 1 
(Flux 1 
Brown 4, 3 
Flux 1 
Raven black i 
Brown 2 
Note — In flesh palette, the numbers refer to the proportionate parts, 
little more and t a little less than one part. 
// yoi/. are ushm other makes of colors, refer to ovr color chart. 
Brushes, 
1 set (6) miniature quill brushes. 
1 set (6) slanting deerfoot stipplers in quill. 
Square shaders 2, 4, 6, 8. 
Take court plaster and bind the stipplers half way o 
them fin 
Use for medium a mixture of Balsam of Copaiba 
Use also Spirits of Turpentine in the brush in painting. Rub the colors d' 
this will keep them open and fresh for a long time, i 
for a palette a 6 by 6 tile, divided, marked and fired 
look much alike before firing, and without the 
trouble in distinguishing between them. 
r the hair, like a collar, to make 
drops) and Oil of Cloves (1 drop). 
ith medium 
ou keep your palette covered. I'se 
in the cut. Several of the mi.xtures 
fired beneath, there would be great 
FLESH I. 
FLESH II. 1 POMP. I. 
POMP. II. 
REP. LIGHT. 
COOL SH.^DOW 
TENDER SHAD. 
W.^HM SHAD. 
BROWN I. 1 BROWN U. 
