KERAMIC STUDIO 
47 
become tiresome. "The mark of a colorist is ability to employ 
low chroma without impoverishing the color effect." We 
have already defined the terms note and tone in our earlier Prob- 
lem. Let us try to get these definitions firmly fixed in the mind 
so that we may use them in their true sense. 
For the practical application under this Problem we will 
color the designs of Problem XI* — the vase forms. As in Prob- 
lem XVI, the values have already been suggested by the neutral 
values shown. The abstract design gives us entire liberty as 
to our color scheme. This is one advantage of the abstract 
design or the design so formal as to have lost the necessity of 
considering the natural coloring of the motif. The character 
of the design will determine largely the strength of the color 
scheme— the key and general tone. The design of bold type 
may be strong in color, while that of the more refined type 
should be correspondingly delicate in color. The abstract 
design shown in illustration (Figure 1) has a background of 
soft neutral yellow (yellow-orange) value, "light" chroma No. 
4. The decoration is in grey-green, dull blue and gold, the 
green being middle grey in value and chroma No. 2. The 
blue is low dark in value, chroma No. 2. The slender Greek 
vase with the decoration from the narcissus motif is in delicate 
tones of grey-green, light as to values which are confined to the 
upper register but of softened chroma. The background is a 
delicate tone of green, light in value, and neutralized three 
times. The leaves are low light as to value but neutralized twice 
(chroma No. 2). The flowers are white with a touch of pure 
yellow in the center. There is no outline, the values themselves 
defining the design. In the low vase (Plate XIII, Fig. 3), the 
decoration of mountain ash, the background is a neutralized 
orange, (chroma No. 5, value, low light). In the decoration 
the background spaces between the units are a lower tone of 
the same color. The leaves are grey-green (chroma No. 3, 
value middle grey). The berries are red-orange (chroma No. 
1, value high dark). The path is of gold. The whole design 
outlined in black. 
The low vase, the nasturtium decoration, has a neutral 
background, yellow-orange No. 4. The band behind the decor- 
ation two tones lower in value and the decoration in tones of 
yellow, orange, red-orange and grey-green. 
For an object such as a vase or jardiniere, which, because 
of its nature, becomes, as it were, a part of the color scheme of 
the room, it is usually best kept low in tone. The general tone 
of our interior decorations are, as more study is given to the 
subject, becoming more and more harmonious and we do not 
wish even our "articles of vertu" to jump at us as we enter a 
room, but would prefer to become aware of them gradually 
to make their acquaintance one at a time. This is why the 
products of our best factories are so pleasing and practical: 
they are confined largely to the soft greens and browns, and the 
decorations, generally speaking, are low in tone. So while 
we do not feel hampered by this suggestion, it is one we will 
do well to note until we have gained sufficient technical skill 
and artistic knowledge to produce an object of such intrinsic 
worth as will place it above such consideration and in the class 
of "objects of Art." 
EXERCISE 
Put vase designs of Problem XI into color, choosing for 
the color schemes such combination (chords) as will best fit the 
type of the design and the size of the piece. Keep the back- 
ground tones low in chroma, avoid strong contrasts; keep the 
color scheme simple, using from three to five colors only in each 
design; avoid sharp outlines and the use of too much gold, which, 
by the way, should be selected, as to shade, to harmonize with 
the colors of the design. Silver, white-gold, and green-gold 
harmonize with the cooler schemes, while yellow and red-gold 
are best used with the warm colors. The metals used are, of 
course, a part of the color scheme and should be selected as 
carefully as any of the colors. For objects of this nature, the 
matt colors will be found satisfactory especially for background 
work. 
VASE 
d Studio, January, 1915. 
Mary L. Brigham 
OUTLINE flowers and the leaves with Dark Grey. Stems, 
dots back of leaves and center of flowers are Gold. The 
handles should have a gold band on both sides. Second fire, 
oil dark tint at top and bottom of vase and dust with 2 
parts Pearl Grey, 1 Ivory Glaze, \ Dark Grey and a touch of 
Dry Ivory. Oil flowers and dust with Yellow for Dusting. 
Oil leaves and dust with 3 parts Florentine, 1 part Pearl Grey. 
Oil background and dust with equal parts Pearl grey and Ivory 
Glaze and a touch of Albert Yellow. Retouch Gold. 
STUDIO NOTES 
Miss lone Wheeler of Chicago has returned to her studio 
in the Fine Arts Building, where she is again taking up her 
work with many pupils. 
Mrs. B. B. Crandall of Chattanooga, Tenn., will open a 
studio at her Summer home "Woolferts Roost" on Lookout 
Mountain on Tuesdays and Fridays for the Summer. Mon- 
days, Wednesdays and Saturdays at the Chattanooga 
Studio. 
