258 
nERAMlC STUDIO 
lUus. No. 4 was designed and made by Miss Nelbert 
Murphy. The textiire and feeHng was dehghtful in it. It 
was carved in low rehef on a soft grey green wood which 
grows in Cuba; the color is so unusiially good that only a white 
filler and a little wax was used in finishing. 
The bird jjanel, illus. No. 5, by Haswell Jeffery, was 
carv'ed on Cuban mahogany in rather deep relief. 
ANSWERS TO INQUIRIES 
A. Covell — ^You can probably get tools for stained glass work and lead 
from The Colwell Lead Co., New York. The stained glass can be bought 
from Louis Heidt, McRibbon and Boerum Sts., Brooklyn, N. Y. Directions 
for doing this work Avere given in the November and December numbers last 
year. 
C. F. Wis.— Wm. Vin.sser & Co., 197 William Street, New York, keep 
all kinds of lacquers for leather; these are transparent and rich in effect. 
Tools for leather and metal can be bought at the Karol Shop, 22 East 16th 
Street, New York. 
STUDIO NOTES 
In mentioning Mr. Sugano's bird studj^ in February num- 
ber, we said by mistake that Mr. Sugano was of Portland, 
Oregon. He is the Japanese artist working and teaching in 
the studio of Mrs. R. F. Mead, 706 S. 9th St., Tacoma, Wash. 
The manufacture of Lustres previously carried on by the 
late Mrs. Anna Armstrong Green of Chicago, has been resumed 
under the firm name of Green & Co. Her husband. Dr. T. S. 
Green, is associated in the business as expert chemist. 
Miss Harriette P. Strafer will have an exhibition of her 
miniatures and pastels in her studio, 27 West 67th St., New 
York, on Wednesdays and Saturdays from March 1st to March 
l8th. 
TREATMENT FOR THISTLES (Sapplement) 
Mary Alley Neal 
SET 3'our palette with Lemon Yellow, Apple Green, Royal 
and Brown Green, Yellow Brown, i\uburn and Finishing 
Brown, Rose, Violet, Black, Copenhagen Blue, Pearl Gre3^ and 
Grey for flesh. Take the prominent thistles and leaves, draw 
them carefidly and the rest of the leaves, stems and thistles 
indicate with the pencil or just block out the design. Paint 
the prominent thistle in soft pinky tones of Yellow Brown 
and a little Rose Violet and Rose, and make a grej^ of Violet 
and Yellow blending softly, taking out the high lights with 
the finger-nail covered with a piece of silk. The cah^x is 
painted with Auburn and Fnishing Brown. 
Now put in the background, using plenty of Medium and 
Lavender oil to keep it open. At top of vase, Copenhagen 
Blue, then into Pearl Grey, Grey for flesh, then Violet mto 
Yellow Brown, Auburn Brown and Finishing Brown, blending 
softly mto the thistles and leaves, painting all the thistles into 
the background while wet with the Grej^ and Yellow Brown, 
and one or tw-o quite \dolet; buds are violet; cah^x of Auburn 
Brown and Finishing Brown, stems and leaves Brown and 
Ro\'al Green, soften all edges with a pad and take out plenty 
of high lights and a few^ leaves, making the latter of Apple 
Green and Yellow. Dust when dry with the same colors and 
fire. For second fire strengthen where necessar^^, adding a 
few touches of pure Violet in the thistles, shading stems and 
adding shadow leaves and thistles over the background, 
strengthen the baclcgroiuid, dust again and fire. 
ANSWERS TO CORRESPONDENTS. 
Mrs. H. H. D. — Work for reproduction in black and white is done in two 
ways, wash drawing and pen and ink. For wash drawing, a smooth water 
color paper, stick India ink and water color brushes are necessary — usually 
about No. 8 round sable and a large flat sable for background work or large 
washes. The round sable wiU point for any small and more delicate touches. 
Work exactly as in ordinary water colors. For jtuw. and ink, a fine Bristol 
board, the finer qualities show a cleaner line and more even washes if the 
latter are introduced as they often are in design work. For designing the 
regular India ink pen is best, although for slcetching many of the best artists 
use the ordinary pointed pen, sometimes quite large and blunt. The Higgins 
water-proof India ink is best for this work as it is ready prepared, of uniform 
blackness, and does not run into design if a wash goes over it when dry. 
Works for reproduction are always best drawn a little larger than necessary, 
but no special proportion is required. For pen and ink alone no difference 
need be made although weak lines are improved by reduction. 
D. A. B. — The serai-conventional treatment of design is quite appro- 
priate for your jardiniere, which appears to be a simple shape and quite 
easily decorated. We would suggest either the Scarlet Bean of Dec. 1904, 
the Primrose in Oct. 1904, or one of the Trillium studies iu Sept. Ktckamic 
Studio, or any other flower subject j^ou maj^ prefer; you will find several 
color schemes in the Trillium article; and the manner of treatment in another 
answer to correspondents in this number. Repeat your drawing of the flower 
around your jardiniere to give the effect of a repeated design, bringing the 
heaviest part of design on the "bulge" of your piece — paint broadly with a 
soft wide outline around the entire silhouette of the flower, not around the 
inside details. We would prefer you to choose your own design and color 
scheme, not because we are not willing, but because in the choice you educate 
yourself . The method of work, you wiU find fully described as directed. 
The whole piece should be finished as for one fire, then if the color is to be 
enriched you may do so in repeated firings with light dusted color over the 
whole or part. See "A. W." 
Always do the grounding first, though powder color is dusted onto the 
half dry painting when it is desired to bring the design together by a similar 
tone over whole or part. The order of work is as follows: Drawing, lightly 
if to be finished before first fire, in India ink, tinting or dusting back-ground. 
If tinted all over, it should be fired before drawing design or if dusted, the 
parts not covered with dusting should be cleaned out first with a rag or 
stick. After firing, paint design and outline, dusting color over whole or part 
fire — or if you prefer you may do your painting first fire, dusting over the 
entire surface afterward. A heavy grounded color will not bear repeated fires, 
but a piece can be lightly dusted and refired several times. Always put a 
heavy ground first, then dry — draw design and clean out before painting. 
Better, however, get depth by repeated fires and light dusting than by one 
heavy grounding. Where color is put on too heavily either in grounding or 
painting, it is very likely to scale in the second fire if not in first. Your 
scheme for vase should work out well in a semi-conventional treatment, 
though we would prefer a warmer color than maroon with mahogany furni- 
ture. We would suggest as a good color to go with your jonquils a rich 
brown or green, these would harmonize with everything. 
A. W. — Philosophy of Color, Clifford & Lawton, 19 Union Square, New 
York City. Old edition, 2.5 cents; new edition, revised, cloth bound, ,50 cents. 
When an oil kiln becomes clogged it may be cleaned with a poker through 
the "clean-out," the little opening in the front bottom of kiln below door. 
Try not to get it clogged — by not letting too much oil into the burner, just 
enough to burn with a good strong roaring sound. The flame should be seen 
through the little round mica over the door — just a "nip" and no smoke — ■ 
later the flame may be a little stronger but not enough-to smoke. Greys for 
flowers are usually made by combining carmine and apple green. Most makers 
of colors have some greys for flowers already mixed, you might inquire of 
them direct. Grey greens also come ready mixed but you can get a grey 
green effect by adding a touch of black and banding blue or some other strong 
blue to royal or moss green. Celadon is a ready prepared grey green. Dark 
green 7, used light, is a grey green but a little harsh; pearl grey would improve 
it. We have given several plates and other designs in the style of decoration 
