126 
RERAMIC STUDIO 
COLORS FOR FLESH 
Vance Phillips' 
Fry's 
Dresden Colors 
Campana's 
Ponder Colors 
Poudir Colors 
Powder Colors 
Blonde 
Flesh No. 1 
Pompadour 1 part. 
Soft Flesh very 
Canary 2 parts 
thinly applied 
Flux } part 
Brunette 
Flesh No. 2 
Pompadour 1 part 
Yellow Ochre 2 parts 
Flux \ part 
Soft Flesh 
Reflected 
Reflected Light 
Pompadour 1 part 
Flesh Shadow 
Light 
Yellow Brown 2 parts 
dark 
Flux \ part 
Small part Albert 
Yellow 
Cool Shadow 
Cocl Shadow 
Turquoise 
Green 1 part small 
Flesh Grey 1 part 
Violet of Iron 1 part 
Flesh Shadow 
Grey for Flesh 1 part 
3 parts 
Flux \ part 
Warm 
Warm Shadow 
Sepia Brown 2 parts 
Flesh Shadow 
Shadow 
Violet of 
Iron 1 part 
Dark 
Tender 
fender Shadow 
Cool shadow 3 parts 
Flesh Grey 
Shadow 
Pearl Grey 1 part 
Turquoise 
Green ru part 
Pompadour 
Pompadour 1 
Pompadour 
Soft Flesh and a 
Pompadour 2 
Superior Pom- 
touch of Rose 
padour Red 
COLORS FOR THE HAIR 
Black hair For lights Turquoise blue 
For shadows Black and a touch c 
f Rose 
Purple and Blue 
Blonde hair For lights Albert Yellow and ^ 
fellow Brown 
For shadows Sepia and Auburn ] 
irown 
Brown hair For lights Sepia 
For shadows Auburn, Dark Brow 
n and Black 
Grey or For lights Turquoise Blue 
White hair For shadows Yellow, Brown and 
Black 
Neutral Tint Ivory, Yellow Brown, Baby Blue and a j 
;rey made of equal 
parts Apple Green and Rose. 
COLORS FOR EYES 
Blue eyes Turquoise Blue and Dark Blue 
Brown eyes 
Sepia and F 
mishing Brown and add a t 
Duch of Black for 
pupils. 
MATERIAL TO BE USED 
3 or 4 miniature quill brushes, 1 No. 00 short liner, 
3 small stipplers in quill 4 square shaders, No. 2-4-6-8 
Take court plaster and bind the stipplers half way over the hair, like 
a collar, to make them firm. 
Use a medium of Balsam of Copaiba (six drops) and Oil of Cloves (one 
drop). Use Spirits of Turpentine in the brush in painting. Mix and grind 
colors well. 
o o o 
Second Prize, Nellie F. DuBois Henderson, Herkimer, N. Y. 
TO obtain the best results from the largest number 
of students in figure painting, my experience has 
taught me to shorten and simplify the method, as long 
drawn out and repeated explanations are more or less 
confusing, and are apt to fill the student's mind with more 
data than he or she can make use of at such an early period, 
and thus the student flounders about, accomplishing nothing 
China for figures should be free from all indentations, 
waves, black specks or scratches, and be of a fine highly 
polished surface. 
Figure painting on china requires study and skill, 
with careful attention to detail. One should avoid all 
corrections if possible, and rather erase and begin over 
again, if an error is jnade, so as to insure pure color and 
transparency. 
First make a correct drawing or tracing of the figure 
on tracing paper. Fasten in place on china at the top by 
wax or gummed paper. Slip a piece of fine carbon paper 
between the tracing paper and the china. With a steel 
tracing point, go over every line perfectly. Then remove 
the tracing paper and go over the outline on the china 
with a pen and India ink, making a dotted line. 
Moisten a piece of soft white silk with alcohol and 
wipe the entire surface of china, to remove all lint and dust. 
Then cover the background around the figure, with a wash 
of medium and a little turpentine. Pad lightly with the 
fingers to remove surplus oil. Then take a square shader 
and paint in the background in neutral tint. 
Never use quick short strokes, or dabble in the color, 
as it will destroy the glaze. Paint the background in 
broken lights to secure an atmospheric effect, avoiding a 
solid appearance. Remember that light falls in angles 
and this will assist you in getting the right places for the 
high lights and shadows throughout the figure and the 
draperies. 
Now treat the figure with medium, same as the back- 
ground, and pad evenly with the finger. Take a square 
shader and apply the flesh tint in all the light parts, in 
broad flat delicate washes. In shadow parts apply Re- 
flected Light and in half tones, between light and shadow, 
apply Tender Shadow. Put Pompadour No. i in the cheeks, 
lips, nostrils, ears, tip of chin and all rosy parts, and work 
rapidly with a clean brush, moistened with oil and wiped 
with the fingers, keeping the brush square on the end. 
Blend and model lightly. Put Tender Shadow on eyebrows 
and where the flesh and hair meet. Take a small stipler 
and blend lightest parts, gradually blending (where needed) 
to darkest parts. If the color comes off too freely, let dry 
somewhat. Now remove flesh color from eyes by using a 
pointed stick wrapped with cotton. 
With No. oo short liner, or miniature brush, paint in 
the eyes, adding a touch of Black in the pupils, wiping out 
the high light, also the reflection opposite. Place a touch 
of Pompadour in the corner near the nose, and a little Cool 
Shadow on the eye balls, and Warm Shadow over the lids. 
Blend softly with small stippler. 
Work up the mouth with Pompadour No. 2 working 
towards the center where the fullness lies. Place a touch 
of Tender Shadow on the edges, and corners of the mouth. 
Use Pompadour No. 2 in the shadow under the lips, in the 
nostrils and ears. Paint the hair in masses, being careful 
of values and lights, keeping all lines soft, and blending 
to prevent a wiry appearance. Touch up the eyebrows 
same as hair, also the lashes. 
In painting the drapery, bear in mind the figure con- 
cealed and model accordingly. Paint in broad washes. 
When thoroughly dry, remove all roughness with a curved 
knife and correct and soften lights and lines with an erasing 
pin. Scrape lightly where edges have overlapped and ex- 
amine all carefully. 
The china is now ready for the first fire, which should 
be a white hazy heat. Let cool very slowly. If the figure 
is properly painted, the flesh tone should be delicate and 
clear; Tender Shadow parts a bluish tint, and the Re- 
flected Lights warm. Proceed as for first painting. Cover 
the figure with the medium, padding lightly. If the flesh 
tones are weak, go over again with Flesh jNo. i. ^ If "the 
Reflected Lights are too cool go over with Reflected Light or 
