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JtlERAMIC STUDIO 
9909 
NARCISSUS 
WATER COLOR TREATMENT. 
Lemon Yellow, Payne's Grey, and Hooker's Green. 
Leaves — Hooker's Green No. 1, Payne's Grey and Emerald 
Green, with Lemon Yellow for high lights. 
TREATMENT FOR CHINA. 
Apple Green and Grey for Flowers. Leaves — Apple 
Green, Dark Green and Banding Blue. 
*'• *■' 
GENERAL INSTRUCTIONS FOR WATER COLOR 
WORK 
No White is used with Carmine alone; it must have 
Safflower with it to give a brilliant effect, as the White 
is blue in tone and the Carmine is the same, the result is a 
muddy color without the Safflower. 
No White should be used with Indian Yellow unless 
Lemon Yellow is used with it. 
The method of working in the opaque color is very 
simple, very direct and not experimental. All teachers 
who wish to make studies from nature for use in the studio 
will find this method of working will materially expedite 
matters, for one may lay in the shadows and put on the high 
lights, thus working around one's work at the modeling, 
the drawing and color at the same time, usually being sure 
of a good result. 
The first wash after the drawing is made is light in 
color and thin, the shadows first and then the lights, hav- 
ing a blocked in idea of the values and modeling, then the 
White mixed with the same colors, beginning with the high 
light and working to the shadows; in this way the study is 
kept clean and the color pure. 
To work on white paper the entire background must be 
covered before the study is begun as the dead white of the 
paper is very trying, causing one to make all shadows too 
light. 
Practice, practice, practice, and "If at first you don't 
succeed, try again." No one learned to paint who was 
easily discouraged, and no one ever succeeded who did no 
work. 
Paint, paint, paint, and at the end of six months you 
will be amazed at the number of good studies you have. 
Generally speaking, if one is careful and earnest and can 
give up one hour each day to painting what one wishes to 
paint, excluding the thought of the profit, one year or even 
six months will work wonders in technique, color and 
strength. But work alone will do this. We have all made 
so much money with so little knowledge that we are apt to 
think we always shall — well we shall see. 
When giving the treatment for the china studies it is 
impossible to give the exact amount of each color to be 
used; all depending on how an article is fired and (as so 
many seem to forget) the experience of the painter. It is 
very much like a good cook of whom I have heard, giving 
a recipe for a cake, "use flour and salt and water, then your 
own judgment. " That is always the feeling I have when 
giving the treatment for water colors or china studies. I 
can give the flour, the salt, and the water, perhaps a little 
more, and then one's own judgment must do the rest. 
All roses that are pink are not all pink and one of neces- 
sity must use discretion in painting them. The same with 
any other color. The color must be thin the first firing, 
only an indication of what the result will be; the second 
and third fire worked each time in more detail, and the dust- 
ing is a very important matter as this deepens the color, 
it pulls the study together and brings all in harmony. 
The treatment for several of the china studies was given 
me by Mrs. Thompson, of New York, to whom I am very 
grateful. 
