36 
RERAMIC STUDIO 
FORGET-ME-NOTS. 
If I am going to cover a pretty good sized surface with 
forget-me-nots, I tint the piece with clouds of Deep Blue 
Green and Chinese Yellow, letting a large cloud of the Deep 
Blue Green come where I will want my principal bunch 
of forget-me-nots. I then pad these two tints. In put- 
ting them on I bear in mind how I want my decoration to 
run on the piece, using the blue as the setting for the flowers. 
Of course there will be blue elsewhere than just behind the 
flowers, but at the principal bunches I try to have the 
color a little stronger. I then take a sharp stick with a 
tiny bit of cotton twisted around the point and wipe out 
some flowers where the bunch would seem to catch the 
light and here and there elsewhere also. Now some of 
the wiped out ones I paint in again with Rosa or Peach 
Blossom or with Violet very delicate in some, but near 
the center of the bunches I use touches of Violet to give 
depth to the mass and underneath some that I wish to 
bring out strong. This is one way in which to paint them, 
using no greens and letting them come up out of the china 
in an indistinct way, only defining a few in the heart of 
the bunches. Connect one bunch with another with 
trailing stem-like lines of blue and Violet. Put in centers 
with Albert Yellow, Yellow Brown and Deep Red Brown. 
MINIATURE FLOWERS. 
These are not the easiest flowers to paint. Roses are 
the most popular miniature flowers painted and as this 
article has already lengthened itself too much, I will 
speak only of the way I have found best to paint these. 
I always begin by making the center, if it is a pink rose, 
one-fourth Ruby Purple to three-fourths Rosa. Then 
keeping the white china for the high-light or lighted side, 
I paint in a curving stroke the ball of the little rose pulling 
the color out where I want the side broken with a petal, 
or if I am painting the face view, wait until the paint is 
dry then with the brush point, paint in a few little lines 
about the center to indicate the edges of the petals. For 
second fire, touch up center with same as first fire, describe 
the turn or point of a petal here and there with the same 
Ruby and Rosa. Where the flowers want stronger model- 
ing, use a delicate wash of Rosa. For shadowy light ones, 
Rosa and Deep Blue Green; for yellow ones, Albert Yellow 
with centers of Deep Red Brown and Yellow Brown equal 
parts. Touch edge of petals with same, but thinner. To 
paint Saffranna colored ones, use Chinese Yellow and Deep 
Red Brown, with centers of Yellow Brown and Deep Red 
Brown. Touch up with same. Crimson ones, Ruby with 
Rosa for high-lights and Ruby and Purple Black for centers. 
Let foliage be sketchy. On last fire, you may suggest a 
vein here and there in the leaves, but don't try to paint 
little roses or their foliage as detailed as you would paint 
large ones. 
NASTURTIUMS. 
For pale yellow ones, Egg Yellow very delicate with 
a little Deep Red Brown added which gives that peculiar 
light pinkish yellow that you find among the lighter colored 
ones; the markings to be made with Yellow Brown and 
Deep Red Brown. Second fire ; Same colors as for first fire 
over flower with Ruby overmarkings. The bright yellow 
ones, Dark Yellow with markings of Blood Red for first 
fire and Ruby for second. Flame colored ones, Yellow 
Red, high-lights, any yellow; markings, Blood Red first 
fire and Ruby second. Leave center of cup greenish yellow. 
Deep crimson ones, Ruby Purple, dusted with Blood Red 
repeated for second fire. Markings, Ruby and Black, 
two-thirds Ruby to one-third Black. The rich, maroon 
colored ones, Deep Red Brown and Chocolate Brown for 
first fire, with Yellow Brown and Blood Red for second. 
The foliage in Nasturtiums is quite as beautiful as are the 
blossoms, and the character of the growth of the plant 
should not be lost. Foliage, cool green; use Deep Blue 
Green, Apple Green, Shading Green, Dark Green No. 7. For 
shadows under leaves use Auburn Brown and Green No. 7. 
Of course this is only giving, as it were, one way of 
treating a violet study, a rose study, etc., but it is impos- 
sible in so short a space to treat fully so comprehensive a 
subject, and so I have tried to show each of these flowers 
to its best advantage, handling it in such a treatment of 
complementary and harmonious colors as will secure to 
each its peculiar charm. 
(Treatment page 49) 
PLATE IN GOLD AND WHITE-ELIZABETH DE LONG 
