108 
KERAMIC STUDIO 
HOLLY— ALICE W. DONALDSON 
ELDER BLOSSOM (Page 109) 
THIRST Fire — The first painting is done chiefly with green 
-T and violet. There should be plenty of violet used in 
the first painting, as it makes a foundation which qualifies 
the colors which are washed over it afterward and helps to 
harmonize them. Wash in the dark in the background and 
into this paint the forms very vigorously and crisply, leaving 
plenty of light in the flowers and light part of background as 
the tendency in subsequent paintings is to darken everything 
and lose the transparency. Use Violet No. 2, Albert Yellow, 
Fry's New Green, Shading Green or Brown Green. Leave 
the flowers very light and flat, reserving the detail for the 
next painting. When work is diy, dust with Fry's Grey Green, 
Violet No. 2 and Ivory Glaze (the latter used in the palest 
part of background, and over the flowers.) 
Second Fire — Define flowers with mixture of Moss Green 
and Albert Yellow, and any accent on foliage may now be 
added. 
The third painting consists of a thin wash of Sea Green 
to envelop the entire study in a tone of cool green. The wash 
over the flowers should be very pale indeed and also over the 
light part of background, but may be thicker over the dark 
green. When dry dust flowers and light part with Ivory 
Glaze and the darker part with Copenhagen Blue. 
CHECKERBERRY 
Edith Alma Ross 
PAINT berries with Yellow Brown and a little Yellow Red 
for lights and Blood Red and a little Carnation for dark 
side. Leaves are Apple Green and a little Moss Green shaded 
with Brown Green and a little Violet. The more delicate leaves 
are Apple Green and a little Violet shaded with a little Shad- 
ing Green. Stems are Apple Green, Moss Green and a little 
Yellow Brown with Dark Brown for the darkest touches. 
Background a thin wash of Yellow for the lightest tones shaded 
into delicate Violet and Apple Green. 
CHECKERBERRY— EDITH ALMA ROSS 
