3° 
RERAM1C STUDIO 
(Treatment p. 49) WILD ROSES— M. E. HULBERT 
Yellow Roses. 
Marshal-Niel, Albert Yellow; centers, equal parts 
Deep Red Brown, Yellow Brown. Grey for Flowers with 
Yellow Brown added for modeling and big shadows. Apple 
Green and Yellow Brown for petals where they join the 
rose. Leaves, Deep Blue Green, Moss Green, Dark Green 
No. 7, Yellow Brown, Deep Red Brown and Violet of Iron 
for shoots or sprouts. For reddish foliage use Yellow 
Brown and Violet of Iron, Deep Red Brown and Auburn 
Brown, Brown Green and Auburn Brown. 
Red Roses. 
Paint in with liberal strength of Ruby, painting high- 
lights with Rosa. For centers, Ruby and Purple-Black 
about half and half, also shadows in petals, Purple Black. 
For certain half-lights or glance-lights it is rather well to 
dust on Dark Blue, being careful not to get it on your Rosa 
or high-lights. Use same colors for touching up and 
strengthening for second firing. It often happens, to get 
the rich dark red of crimson roses, that they must be painted 
and re-fired several times over, but try to retain the crisp- 
ness of drawing, going over exactly the same places as in 
the previous painting. To powder with the Ruby each 
time doubles the strength of the color. You must not 
paint too thickly with Ruby, else it will blister, which 
disaster cannot be effaced or remedied. Some red roses, 
such as the Jacqueminot, are well painted in Blood Red 
with centers of Ruby and Black, and then the whole rose 
dusted with Ruby, or reverse it and paint first with Ruby 
and dust with Blood Red. Leaves and stems want a 
vigorous handling, warmer, stronger colors being used 
than for the more delicate roses: Russian Green, Moss 
Green, Brown Green, Dark Green No. 7, Yellow Brown, 
Auburn Brown, Violet of Iron and Finishing Brown. 
Manipulation of Brush. Use as large square shader 
as you can manage, dip brush into turpentine, drain on 
rag; dip the tip of it into the medium then take up the color 
with a wriggling movement of the brush that gets it evenly 
distributed into the brush, and make a trial stroke or drag 
the brush away from the color on the palette in such a 
way as to prove that you will make a wash-like stroke. 
Then try to paint your petal with as few strokes as possible, 
and making them always in the direction that the petal 
lies, following the cup of the petal. 
VIOLETS. 
Chinese Yellow, Albert Yellow, Yellow Brown, Deep 
Red Brown, Brown Green, Moss Green, Dark Green No. 7, 
Bischoff 's Violet, Aztec Blue, Copenhagen Blue, Deep Blue 
Green and Peach Blossom. Paint in the most conspicuous 
flowers, those on which the light falls full and strong with 
Deep Blue Green in lightest part with shadings of Bischoff 's 
Violet, and markings of Bischoff's Violet and Aztec Blue. 
Paint those adjacent with Aztec Blue and Violet, putting 
deep intense shadows behind them of Violet and Black 
and Aztec Blue. Paint shadow flowers with Copenhagen 
Blue. Paint leaves with Moss Green, Brown Green and 
Dark Green No. 7, Auburn and Yellow Brown. Do not 
paint the petals to join in the center; if you do, then wipe 
out the very heart and put a touch of Albert Yellow with 
a dot of Deep Red Brown and Yellow Brown mixed, equal 
parts, just under where the top petal overhangs the little 
cup or well of the flower, and on either side petal near the 
well, leave a little light spot for the white fuzz or whisker 
of the flower. These details are only to be carried out in 
a few of the most conspicuous ones. Note that the violet 
is a first cousin to the pansy, having five petals, one of 
which is generally larger and longer than the others, this 
one being the lower one and which one is often quite strong- 
ly marked. Notice the characteristic set of the flower on 
its stem. 
Background. Put in with Albert Yellow on one side 
as though issuing from behind or underneath principal 
(Treatment p. 42) JUNE ROSES— M. E. HULBERT 
