58 
RERAMIC STUDIO 
FISH PLATE, CRAB MOTIF 
(See full size drawing- page 53) 
BE very careful to get a correct outline of this design. 
Do not weary in trying until a satisfactory outline is 
obtained,'] as the charm of conventional designs lies in the 
beauty of outline. 
Outline — Use Blood Red in powder form, mix with 
sugar water and apply with a crow quill pen. 
Background, space behind crab — Equal parts Blood Red 
and Yellow Red; paint this smoothly and evenly. 
For white spaces leave the white china. 
The design is all of gold. 
For dark grey portion between gold spots joining 
units of design, and for outer band of plate, use Blood Red; 
by repeated paintings make this color rich and deep in tone. 
*• -f 
SMALL SCENERY IN PANELS 
THIS design is suitable for a stein or small vase, repeat- 
ing large and small panels twice. 
The base may be of some solid color that suits the 
decorator's fancy. 
For sky and small light portions between trees, use 
one-half Banding Blue and Blue Green; paint this delicately 
but let it be brilliant. 
Roof of little building may be of Pompadour with a 
little Black. 
Cover house with wash of Grey. 
Trees, Brown Green, Shading Green and Russian Green, 
and the grass of the same color but lighter in tone. 
Apple trees in blossom, use Pompadour and Yellow 
Brown and wash it so delicately as to appear almost white. 
LANDSCAPE CONVENTIONALIZED FROM THE 
NATURALISTIC ONE 
FOLIAGE, Shading Green, Brown Green and Russian 
Green. Grass, two parts Sea Green, two parts Grey for 
Flesh, one part Copenhagen Blue. For trunks of trees 
and places in road which are not in shadow and for the 
fence, use two parts of Violet No. 2 and one part Blood 
Red (much lighter in tone in the road than for trees.) 
The tree trunks must be dark and rich to harmonize 
with depth of tone in foliage. 
House, a brown grey made of equal parts of Shading 
Brown and Grey for Flesh. Bushes bordering house, 
Yellow Brown one-seventh, and Yellow Red six-sevenths, 
very delicate. Sky, three parts Yellow Brown, one part 
Brown Green; Yellow Red near horizon. 
Second firing — Cover entire design with tinting oil 
colored with one part Meissen Brown, one part Brown 
Green, two parts Yellow Brown, pad well. Set aside for 
twenty-four hours, then dust with Grey for Flesh. 
Third firing — Retouch with same colors used in first 
firing and outline with strong black line. 
I have not given a color scheme in water colors for 
the original from which the above is taken because I did 
not think it within the province of the magazine. 
SCENERY, MEDALLION SHAPE 
FOR trees, Shading Green one part, Brown Green three 
parts; grass, two parts Sea Green, one part Brown 
Green; road and trees, Gold Grey (very light); sky, Albert 
Yellow (a very light wash) and for the little cloud effect use 
Yellow Red. Mix with medium and a little clove oil. 
This little design can be arranged with good effect 
on a stein or hot water pot, and for a border will need to 
be repeated about three times. 
PLATE, BIRDS (Page 55) 
OUTER band of plate, six-sevenths Copenhagen Blue 
and one-seventh Banding Blue. Leave a white space 
and make second band either of green made of Sea Green 
and Shading Green, or of gold. Tail of bird, six-sevenths 
Copenhagen Blue and one-seventh Banding Blue. Head 
of bird, a touch of Dark Blue. Breast, just a suggestion 
of cream color, shading into a deep blue green, which can 
be softened by a little grey in the second firing if it is too 
harsh. Leaf form, which makes inner band, of Sea Green 
and Shading Green. Outline in Black. Wash over entire 
border with tinting oil to which is added a little Brown 
Green and in twenty-four hours dust with Pearl Grey. 
This will harmonize the whole. 
The color scheme given for cup and saucer, boat 
motif, can also be used. 
