7 6 
RERAMIC STUDIO 
for the problems have been mailed to each club and individ- 
ual member, so there can be no misunderstanding about 
the shapes and members can order their china without 
delay. These slips will be mailed to any reader of Ker- 
amic Studio sending stamped self-addressed envelope. 
Designs may be sent in earlier than the specified time if 
desired, and it is hoped all will be sent in promptly. 
In making the designs for problems two and four, 
which are for table service, bear in mind the fact that 
ornament on such pieces should be kept simple, as the effect 
of repetition on a number of pieces must be considered. A 
plate which would, from its boldness of design and strength 
of color, be charming if used alone as a wall decoration, 
might lose its charm and become unpleasing, if the same 
design was used for the ornament of a set of service plates. 
Fitness to purpose and to position is one of the funda- 
mental principles which must be applied by all designers 
to their work. 
Several inquiries have been received relative to the 
cost of the study course. It is free to all members of the 
League. The initiation fee for individual members is two 
dollars, the dues one dollar a year a present. Persons 
belonging to a club already on our roll of clubs are not 
required to pay initiation fee on joining the League. 
Mary A. Farrington, President, 
1108 Norwood Ave., Chicago. 
STUDIO NOTE 
Mrs. Sara Wood Safford is in the country for the sum- 
mer weeks gathering material for the winter's work, and 
will open her New York studio early next fall, the first 
week of September. 
CLASS ROOM— FLOWER PAINTING 
Second Prize — Sydney Scott Lewis. 
IT is generally conceded that it is best to use a flower 
as a suggestion for a color scheme, and in that way 
to keep the motif of decoration subordinate to the shape of 
the article to which it is applied. As for example, a vase 
may represent a harmony in yellows and greens, or yellows 
and greys, or greys and blues, etc., instead of a painting of 
daffodils, or one of iris, etc." In this way the painting of 
flowers is kept to simple lines, is not too strictly naturalistic, 
and is more pleasing and artistic than a too realistic ren- 
dering. 
In flower painting it is well to have in mind a general 
color scheme, also to adapt as nearly as one can the subject 
of design to the form to be decorated. Either fit the design 
to the form or secure a form that will fit the design desired. 
If one space of color is too large or too small for the others 
the balance is lost, even though the harmony in color is 
good. There must be a central point of interest and all 
the rest of the design lead up to it and emphasize it. A 
piece of china decorated naturalistically and with no point 
of interest is bad enough but, with several, is confusing, 
looks spotted, and does not hold together. Study nature 
closely, observe the beautiful forms of flowers, the outlines 
and texture, pull them to pieces. Make water color studies 
of parts, and of the whole. The backgrounds for flower 
paintings must be soft and harmonious, repeating the tones 
used in painting the blossoms and leaves. 
Work for the first fire as broadly and simply as possible. 
Let each stroke be sure and telling, working back over the 
painting as little as possible, reserving detail and bringing 
together by flushing and dusting in color for the second and 
third fires. It is advisable to lay in the entire piece for 
the first fire at one sitting, working the background, flowers 
and leaves along together, softening the one into the other, 
thus avoiding hard lines and sharp edges, and patches of 
color that will not blend. If it is a large piece the color 
must be kept open for working by adding to the usual 
mediums a little clove oil, though if one works with lavender 
oil, this is rarely needed. It is a good plan to begin with 
shadow flowers and leaves and work from the darkest up 
to the lightest and more prominent ones. Indicate with 
crayon' pencil (if a beginner) the main features of the design 
but do not draw it in precisely and exactly. It is almost im- 
possible to keep a naturalistic design from stiffness if one 
has to follow an exactly drawn flower, leaf or stem. In fact 
the design generally seems to suggest itself as one works 
along. A dark spot here, a light there, a shadow, or a leaf 
or flower seems to grow of its own will out of the background 
or general mass of color, and behold in the end you find 
something very different perhaps from the study you 
started out to copy or make, but you find you have some- 
thing equally as charming and of your own creation. 
Nearly every teacher has her especial make of colors 
and a special flower palette that seems to her the only one 
from which to work. In this article the colors given are 
the ones from which the writer has obtained the most 
satisfactory results (Fry's powdered colors, unless other- 
wise stated) ; the color palettes given for use in the 
painting of various flowers, those that she has used when 
working under very experienced teachers and from notes 
taken at that time, also some very excellent facts as to the 
best colors to use for a given flower, selected from the 
directions given from time to time in the Keramic Studio, 
all of which have been tried and tested by the writer and 
found entirely dependable. 
Every china decorator wants to paint a rose, generally 
right away, a large one, no! well then a small one, be it 
pink, white, red or yellow, forgetting that small things are 
ofttimes the most difficult. In the hands of the amateur 
decorator the rose is the most abused of flowers. It is the 
most admired, "Every body knows what a rose is like." 
hence they think it will be easy to paint it. Whilst if the 
truth were known the simplest little rose that grows is so 
perfect a thing, is so elusive in its beauty that only the 
master decorator can seem to catch and hold its charm. 
In painting roses and indeed in all flowers there must 
first be a well laid color, good modeling, and proper hand- 
ling and light and shade and this must be accomplished 
for the first firing. In painting white roses or creamy 
roses the shadows play an important part, as in these roses 
the modeling makes or mars them, they have no color to 
fall * back on. Use for shadows, Violet and Yellow with 
a bit of Dark Green in deepest shadows or a touch of Pearl 
Grey, this cools and deepens. For the very faintest shad- 
ows use Yellow and Pearl Grey. If the rose is full blown 
the center will be "rich and sunny" almost golden hearted, 
use Yellow and Yellow Brown. If somewhat closed, the 
center will be darker, use Brown Green and Yellow. Lay 
in color for first fire in broad flat washes keeping the green 
leaves pretty flat in tone. Tone the greens for leaves with 
violet colors; if a few touches of warm, rich foliage be 
desired use Carnation with Brown Green. This is good to 
use in modeling stems and thorns. For soft shadowy 
leaves use Carnation and Violet. 
