KERAMIC STUDIO SUPPLEMENT 
BLOOD-ROOT— PHOTOGRAPHED BY WALTER S. STILLMAN 
Treatment by Jessie M. Bard 
FLOWERS are White. Paint the background and shadows 
around the flowers first and then shade flowers with Vio- 
let and a little Yellow. Centers are Yellow, shaded with 
Yellow Brown and a very little Yellow Red. For flowers use 
Violet and a little Blood Red. Stems are Apple Green, Shad- 
ing Green and Dark Grey. Light leaves are Apple Green, a 
little Yellow Green, Yellow Brown, atd Dark Grey. Dark 
leaves are Yellow Green, Shading Green, Brown Green and 
Dark Grey. 
FLEUR DE LIS— HELEN J. HULME (Supplement) 
Treatment by Jessie M. Bard 
OUTLINE design with Dark Brown, a little Blood-red and 
Dark Grey. Paint the background with Yellow Brown 
and Brown Green and Violet. 
Flowers are left white and shaded with Violet and a little 
Yellow Brown for the warmer tones. For the light yellow use 
Albert Yellow and the darker tone is Yellow Brown and a little 
Yellow Red. 
For buds and leaves use Apple Green, Yellow Brown and 
Green and for the darker tones add Shading Green and Dark 
Grey. 
WATER COLOR TREATMENT 
Helen J . Hulme 
Sketch in the outline with pencil on heavy gray paper. In 
the greens use Hunter's Green and Emerald Green, with touches 
of Cobalt Blue and Burnt Sienna in the shadows, and Yellow 
Ochre in the half tones. For the high lights mix Chinese White 
with Chrome Yellow, letting it flow into the Emerald Green. 
In painting the flowers, let the paper be the half tone as 
much as possible, at least covering it with only a tiny wash. 
For the shadows use blue and red with touches of green where 
the reflection comes from the leaves. For the high lights use 
fine Chinese White, and for the downy like centers Gambodge 
and White with touches of Chrome Orange. 
Let all the colors flow freely, keeping the brush full of 
color. The brush used for painting this study was a Winsor & 
Newton sable brush, No. 6. 
Finally outline the whole study with black combined with 
a little of the colors used in the shadows, thickening the out- 
line wherever one line flows into another. Finish with a 
heavier outline the space enclosing the study. 
