152 
KERAMIC STUDIO 
color. The reflected lights in the green grapes are Gamboge 
or Lemon Yellow, with very light Sap Green in the lights. 
The shadows are Sap Green and Burnt Sienna. A thin 
wash of lightest tone should be washed over leaves, and 
allowed to dry, before the shadows are put in. The largest 
leaf may be painted in autumn colorings, to represent one 
touched by the frost. It may be tipped with browns, 
Burnt Sienna, and Payne's Grey, with brilliant spots of 
Gamboge, and Cadmium Orange running into occasional 
touches of Vermilion. The rest of the leaves may 
be kept in Green and Blue Grey tones. A light 
sketchy background may be applied, using Gamboge, 
New Blue, Light Red, and Payne's Grey. 
After the whole study is laid in, touch up the 
high lights, and represent the bloom of the grape 
with Chinese White, to which a bit of New Blue has 
been added. 
SUGGESTIONS FOR 
TREATMENT OF STUDIES 
AN old truism, which no- 
body denies, is "learning 
to draw is learning to see. "Its 
antithesis is also true — learn- 
ing to see, is learning to draw. 
While much depends for the 
treatment of the designs giv- 
en in these pages, upon a per- 
fect harmony of color, it will 
be found no easy matter to pro- 
duce beautiful pieces from 
these studies, if the drawing 
does not express the design 
with some degree of accuracy ; 
therefore, first in order is your 
drawing, which must be cor- 
rect before the color is ap- 
plied. It is most difficult to 
explain, in words only, the 
artistic method of applying 
the color to these designs, and 
especially in the background. No directions can carry 
with them the eye trained to accuracy and to delicate dis- 
cernment of subtleties of line and color. Most students 
who will attempt to carry out the suggestions given in the 
following pages have this training, and we therefore give the 
palette of colors used , leaving the rest to the good taste of 
the artist. 
GRAPES (Supplement) 
WATER COLOR TREATMENT 
FRUITS of any kind present more difficulties, and involve 
more modeling than most flowers, and are therefore 
rather to be avoided by the actual beginner, who usually 
commences work upon an elaborate piece in grapes, a most 
difficult accomplishment for an amateur. 
Keep tones clear and crisp, leaving the fights very deli- 
cate. The dark tone in the purple grapes is made of Indigo 
and Crimson Take and should be applied as dark as possible 
in first wash. The light tone is a thin wash of the same 
T 
VASE-GRAPES (Pages 160-161) 
HIS vase is to be worked up in purple and green 
grapes. Purple grapes — Banding Blue, Ruby 
Purple and Black. Green grapes— Yellow and 
Turquoise Green, Lemon and Egg Yellow, 
Yellow Brown, Yellow Red, Pompeian and 
Brown Green. Shadows for green grapes 
— Egg Yellow and Brown Green. 
Leaves — Yellow, Turquoise, Shad- 
ing, Olive and Brown Greens, 
Lemon and Egg Yellow, Yellow 
Brown, Yellow Red, Pompeian, 
and Chestnut Brown. 
Background — Ivory Yellow, 
Grey, Banding Blue, Ruby Pur- 
ple, Turquoise Green, Shading 
Green, and Brown Green. 
*• -f 
JAR— WOODBINE AND LAND- 
SCAPE (Page 157) 
THE bands are in Grey or 
Black, done with the wheel. 
The landscape and tint of 
the vase is in Grey. 
The leaves are done in Yel- 
low Brown, Wood Brown, Chest 
nut Brown, Pompeian, Ruby 
Purple, Brown Green and Yel- 
low Red. 
The berries are painted in 
Banding Blue, Ruby Purple and 
Black. 
NOVEMBER BIRTHDAY CUP 
AND SAUCER (Page 159) 
Lines — Shading Green. Flowers — Rose, Ruby Purple, 
Lemon Yellow, Egg Yellow, Yellow Red, Yellow Brown, 
Pompeian and Wood Brown. Background — Turquoise 
Green, Ivory Yellow and Stewart's Grey. 
Tint above L'Art Nouveau lines, light tone of Shading 
Green. 
