'74 
RERAMIC STUDIO 
THE ANEMONE 
THE white and pink Fall anemones are among the most 
beautiful and decorative of the latest blossoms of the 
year. The only noticeable difference between the white 
and pink varieties is the color and the larger size of the 
white flower. Perhaps the white anemone japonica is the 
more beautiful, but the pink is more rare and is of a soft 
and sympathetic tone which makes a delicious combination 
with the whitish green of bronze. 
First, the drawing was made in pencil directly from 
the growing flower, then the lines were traced in India ink 
to preserve the study. The next step was to rearrange the 
drawing so that it would compose well in a rectangular 
frame. Whether one wishes to make a naturalistic arrange- 
ment or a purely decorative one, this will be the order of 
work giving thought to the "spotting." The balancing of 
larger areas by smaller ones both in the design and the 
background, seeking an harmonious flow of line, an agree- 
able and unusual arrangement of the motif, noting that the 
shapes of background spaces should be as interesting as the 
study itself. 
The crowning problem is that of color ; to suggest suf- 
ficient contrast of color without making spots which catch 
the eye and prevent seeing the study in its entirety, to keep 
every part in harmony and to give due importance to 
principal and subordinate motifs by a judicious toning of 
the color, and balancing of light and dark. 
PINK ANEMONE (Color Supplement) 
r I A HE color study is of the pink anemone. The arrange- 
■*■ ment is suggestive of stained glass although the 
study is not sufficiently simplified for such a purpose, being 
a sort of "compromise" between the naturalistic and the 
purely decorative. It would be difficult to translate the 
color effect exactly into the mineral palette. To apply the 
study, first tone the piece to be decorated with a deep buff 
tint, using Yellow Brown and firing. Then paint the flowers 
with Pompadour and Albert Yellow, the leaves with Moss, 
Brown Green, and Dark Green 7. Outline with Pompadour 
and Banding Blue, about one-eighth of the Blue. If the 
colors are sufficiently strong after this fire, dust with Pearl 
Grey. If a deeper yellow undertone is desired tint with 
the Yellow Brown for the third fire and dry dust with the 
Pearl Grey. For a darker tone in background, tint with 
Pompadour for last fire and dry dust with Blue Green. 
*• -f 
CONVENTIONALIZATIONS OF ANEMONE MOTIF 
Having arranged the study to our satisfaction, the next 
thought is the conventionalization of the motif (page 1 76) and 
suggestions for application to ceramic forms considering 
whether the flower is best adapted to a border arrangement 
or to a vertical decorative scheme. 
The very act of conventionalizing a form will often 
suggest a pleasing arrangement. In this case, the pre- 
arranged idea was to make a border for the editorial page 
which could also be adapted to other purposes. In the 
suggestions at the top of page 176 will be found some adapta- 
tions of this border to both tall and low forms. The piece 
to be decorated will often decide certain necessary changes 
in the arrangement. Work until the mind will furnish no 
further suggestion on the simple conventionalization of the 
motif itself, then exhaust your ideas as to the arrangement 
of the motifs in borders and vertical decorations. Then 
try the adaptation of these decorations to various ceramic 
forms which will suggest other changes in the designs. 
This practise with every flower or other motif will be of the 
greatest benefit in making these borders and designs, do not 
forget to apply all of the principles which underlie the ar- 
rangement of the study itself: spacing, harmony of line, 
dark and light, color, etc. Also keep in mind that simplic- 
ity is the greatest art and requires the most thought and 
work. Go over every design with the intention of eliminat- 
ing every unnecessary feature; every detail which can pos- 
sibly be spared should be omitted, and do not forget that 
there should not be too many different forms in one design , 
nor should the lines run in too many directions. The 
result in such a case is distracting. 
Color suggestions for designs — Milk pitcher, Dark Blue 
on Pearl Grey, white outlines and panels; water pitcher, 
Ivory tint, two shades of Grey Green; first salad bowl, Ivory 
tint and outlines, Yellow Brown lustre bands, design in 
gold with Brown outlines; first cup and saucer, gold and 
white; second salad bowl, Ivory tint, Apple Green tinted 
border, flowers white with Apple Green leaves and stems, 
centers Albert Yellow, outlines in Apple and Moss Green; 
second cup and saucer, gold border, flowers, white, leaves 
Yellow Green, Black outlines; vase, tint of Neutral Yellow, 
flowers, Yellow Brown, leaves of Olive green on darker 
Olive ground, Deep Olive top and outlines; third salad bowl 
tint first with Ivory, when all is finished, with Pearl Grey 
over all, division lines of gold and gold lines on white inside 
flower panels in darker shades of Ivory and Olive Browns. 
