82 
KERAMIC STUDIO 
MALLOW— DETAILS AND BORDERS-ADELAIDE ALSOP ROBIN FAU 
FLEUR-DE-LIS (Supplement) 
Rhoda Holmes Nicholls 
TREATMENT IN WATER COLORS. 
TO make a satisfactory copy of the fleur-de-lis study 
prepare the paper by moistening it and placing it over wet 
blotting paper on a board. Draw with a red sable brush 
with firm point and Cobalt Blue the whole design. Then 
wash in the background using Indigo, Raw Sienna, Aligarin 
Crimson and Hooker's Green No. 2. For the flowers use 
French Blue, Aligarin Crimson, a little Black, Lemon Yel- 
low and Carmine and for the leaves Hooker's Green No. 2, 
Black, Aligarin Crimson and Lemon Yellow. The sharp 
accents must be applied when the paper is comparatively 
dry. These accents are very important and the life of the 
study depends on them. In case the brilliancy of the 
paper has been lost, use Chinese white thickly with a little 
of the local color. 
CHINA TREATMENT— F. B. AULICH 
[Reproduced from September, 1901; K. S.] 
For china painting I would advise the study be applied 
to tall shapes or where a long stem can be introduced. The 
fleur-de-lis is also prettier when painted in the natural size. 
The flower is a difficult one to paint, and careful attention 
must be paid to the drawing. For the violet tints in the 
upper petals use Turquoise Blue mixed with a little Rose, 
the quantity of both depending on the depths of the violet 
to be desired. If you wish a pale lavender use Air Blue 
instead of Turquoise in the mixture. For the lower dark 
petals use Crimson Purple with Banding Blue. For the 
center and inside parts and the narrow shaped stripes 
down the center of each petal curling downward use Lemon 
Yellow and shade with Albert and Yellow Brown. Do not 
forget the purple veins in the petals which lose themselves 
in the yellow center. The three petals hanging downwards 
are always darker than the others. 
When you paint the white fleur-de-lis use a grey made 
of Yellow Green and Violet, first lay in Lemon Yellow, Blue 
and shade with Grey. There are purple veins in the lower 
petals also. Yellow Green, Blue Green and Shading Green 
can be used in the leaves. For the distant greens use more 
Blue. The general character of the greens in this plant is 
cold in tone, but as in all paintings use warmer colors in the 
leaves, etc. For the first firing you may lay in color scheme 
as given above using colors very oily for the painting of 
backgrounds also. The background is laid in for the second 
firing, which I consider more practical for the less expe- 
rienced painter, as he can change the color scheme and 
effects to suit the individual taste, and if not successful 
can wipe off the tint without destroying the design. The 
last firing I use for finishing and accents and a general 
rounding up of the color scheme and light and shade. 
