KERAMIC STUDIO SUPPLEMENT 
SYRACUSE, NEW YORK, OCTOBER 1915 
JAPANESE CRANES (Supplement) 
Marie White 
OIL over entire surface of tiles and dust with 2 parts Pearl 
Grey and 1 part Ivory Glaze. Wipe out places for the 
cranes and the moon. 
Second Fire — Paint in the trees with Violet, Copenhagen 
Blue and a^little Deep Blue Green. Sky and shadows of the 
same. Dark part of cranes Black, a little Dark Brown and 
Copenhagen Blue. Moon is Albert Yellow, Lemon Yellow and 
Yellow Brown. Water Albert Yellow, Yellow Brown, Apple 
Green, Shading Green and a little Dark Grey. 
WATER COLOR TREATMENT OF JAPANESE CRANES 
Rhoda Holmes Nichols 
In this delicate and excellent rendering of cranes by Marie 
White (after the Japanese) the most important thing to think 
about is the delicate drawing of the birds and after that the 
toning of the background. Should the student make it too 
light then the birds would not stand out strongly enough. If 
too dark the darker feathers would not tell out enough and the 
effect of sunlight (even setting sunlight) would not be there. So 
to hit this exact tone is not easy unless you leave the pure white 
near, it is very deceptive. Cobalt Blue, Lemon Yellow, Rose 
Madder and Black are the only colors necessary but Chinese 
white can be used at the last with great advantage on the wings 
of the birds or wherever a very light note occurs. What- 
man's smooth gold cold pressed paper will be found excellent. 
There are also Japanese papers which will give a satisfactory 
rendering. First draw very carefully the birds with a pencil 
line sufficiently strong to withstand repeated washing, where 
the white cuts the sky it is not so important to have the line 
firm. Next mix Cobalt Blue, Black, Rose Madder and a very 
little Lemon Yellow and wash in the ground. This should 
be repeated again and again while it is still wet so that it does 
not dry too quickly, because there is a great deal of work to 
be done while the wash is still wet. With blotting paper lift 
out the place where the moon is and introduce Lemon Yellow 
and lower down Rose Madder. Cut the blotting paper and 
draw with the edge the white of the wings of the birds and any 
other light part in the picture. Next comes the painting of 
the trees all to be done while the wash is still wet. The soft 
ripples in the water must be put in when wet, the smaller and 
sharper ripples when dry. The dark feathers of the birds 
must be also painted dry. When everything is done Chinese 
White can be added to the plumage not all over but in such 
places that will model the cranes 
JAM JAR— DORA V. McCREA 
OUTLINE in Black. First and second bands in Gold ; third band in Moss Green. 
Tint between bands and behind grapes in Satsuma tint. Leaves, in Moss 
Green with Brown Green. Grapes in Purple for Grapes. For darker ones, add a 
little Black. Bands around bottom of jar, plate and cover in Gold. Handles in Gold. 
