RERAMIC STUDIO 
167 
BRUSH WORK 
W. P. Jervis and F. H. Rhead. 
LESSON 5 
HINTS OF METHODS EMPLOYED IN DRAWING TREES 
WE give in this lesson three bands with different schemes for 
trees. The effect in Fig. i is often seen in thee vening 
when the sun is behind the trees. Before painting the trees, 
wash in a ground with a rich cadmium orange, then paint the 
trees generallj^ in tones approaching black, mixing the colors 
as you go along, varying from a dark purplish to a blueish green, 
being careful to keep the depth about the same, but just varying 
the tone. In other words try to get such an effect as would be 
seen when the evening sun makes a silhouette of the trees 
against the sky. An Italian effect can be made with Fig. 2 if 
painted in bright colors. Use a light blue for the sky, with a 
yellow green foreground, rich green for the foHage and burnt 
Sienna for the trunks of the trees. In Fig. 3 only two colors 
are needed, light -violet for the sky, and the trees and fence in 
raw amber. Fig. 4 and 5 show two different methods of treat- 
ing poplar trees, and Fig. 6 is a conventional treatment of an 
apple tree. The panel with the alliterative inscription is 
suitable for either burnt wood or pottery in underglaze colors. 
If used for pottery divide the panel in two portions for the 
first treatment, the foreground and the sky. The details will 
come later and will be laid on over the first wash. On the 
lower portion from the horizon downwards, paint in warm 
yellow green, but let it be hghter and colder at the top, and 
stronger and warmer at the bottom. The castle is to be white 
with red brown roofs. Get the white scrape off the ground 
color with a scraper and later the lines and shading can be done 
hghtly in cobalt blue. The trees at the back of the castle 
should be a dark cold green. The pebbles on the path in 
different tones of russet green and brown. Trees in the fore- 
ground in olive green with the trunks in chocolate brown; the 
shrub at the back of the tree in dark olive green. The "Tired 
Turtles " should have the shells in orange with the lines traced 
in dark red brown. The signs can be in russet brown with 
dark brown letters, or the letters in black on a peacock blue 
background. The best medium to use with the colors is 
turpentine and fat oil, but in this case it will be necessary for 
the pieces to be hardened on before glazing so as to burn out 
the oil. If the colors are mixed with water and a suspicion of 
mucilage this hardening on fire is not requisite. When the 
glaze is applied the slab should be fired flat in the kiln to pre- 
vent the colors running, but should the kiln be too small to 
admit of this the piece should be very lightly glazed. Remem- 
ber that browns fire away more than other colors and if a 
strong wash is required go over it twice. 
^ If 
CHILD'S SET— FIRST PRIZE. (Page J 76) 
Sabella Randolph 
TINT the plate a light cream, using Ivory Yellow with a 
touch of Brown Four. After firing, paint the design in 
Royal Green; light for the background. Panels — carry out 
the design in a mixture of Banding Blue, Royal Green and 
Black to make a medium tone of dull greenish blue. 
CHILD'S BREAD AND MILK SET-MARGARET OVERBECK 
Figures and band in green gold, and background a deep cream or light yellowish green. 
