2o6 
RERAMIC STUDIO 
wash of mazarine on the red body gives a rich purplish 
grey, a thicker wash a sober violet, and a still stronger coat 
a luscious velvety black. Greens, according to their tone 
and thickness washed over the red, give an immense range 
of tones varying from dull drab to suave subdued greens 
of all hues, while chrome and Victoria green if applied 
thick enough for opacity, retain their own inherent brilliancy 
and are not affected by the ground, unless they are washed 
on thinly enough for the ground to be seen through. On 
the drab body, a wash of blue produces varying tones of 
slate color, and greens are affected (in tone, if not in tint) 
as they are by the red, except that the contrast of the red 
ground makes the greens appear brighter. Yellows and 
oranges give a wide variety of tones on the drab, accord- 
ing to the thickness of the wash. When opaque, they 
show yellow and orange, but not quite so bright as on 
white or cream. 
Yellow flowers may be very simply and effectively 
treated on a drab ground, by washing a very thin wash of 
yellow for the shadows, and brightening the lights by re- 
peated thickness of yellow until the necessary opacity is 
attained. 
It will be easy to judge of this during the process of 
painting, for the colors, when mixed with the necessary 
mediums, show a similar degree of opacity and semi- 
transparency to what is seen after firing. 
Still, the method previously suggested, of making 
trial slabs or plates of tinted bodies with all the colors 
applied in various strengths, will be more helpful than 
columns of written instruction. 
(TO BE CONTINUED) 
CLUB NOTE 
At the regular monthly meeting of the New York 
Society of Keramic Arts, held on December ioth, three very 
interesting talks were given. First, Miss Sheldon, an art 
teacher of the Normal College of the City, addressed the 
Society on jewelry: she spoke about the copper, silver and 
gold workmanship of the craft, illustrating her talk with 
fine examples. Then the Society had the pleasure of 
listening to Miss Hibler's talk on block-printing : in a few 
words we were given a true idea of the successes and fail- 
ures of this undertaking. The third but not the least of 
the speakers was Mr. J. Wm. Fosdick of the Nationa Arts 
Club, who spoke on crafts in general. 
ROSES WITH BAND AND LETTERING (Page 200) 
Maud E. Hulbert 
"Gather ye rosebuds while ye may; 
Old Time is still allying; 
And those same flowers that bloom today 
Tomorrow may be dying." 
DRAW the design, paint in the roses first, with Pompa- 
dour, Warm Grey, Yellow Ochre and Lemon Yellow, 
the lightest leaves, with Moss Green shaded with Brown 
Green and the deeper ones with Shading Green and Brown 
Green. The shadowy leaves in Copenhagen Grey, the stems 
with Finishing Brown. Finish it with some delicate green. 
Apple Green with a little Ochre in it is good, tint it with 
Ivory glaze. 
Paint the band a Green Gold. Parts, about a third 
Silver and two-thirds Gold, mixed well together. This will 
have to be put on for the first and second fires and the 
lettering for the third firing. The capital may be done 
with the Yellow Green with black outlines and the letters 
Black or Shading Green. Make the letters dark and even. 
The band would also look well if it were done in a Mat 
Green, the same shade as the flushing, with the letters in 
Gold. This would require only two firings if the mat color 
were painted on evenly the first fire. 
LADY'S SLIPPER— MAUD E. HULBERT 
THE petals of the flowers are white, use Warm Grey 
and Brown Green for the shadows on them. The 
lip is white striped with purple, use Rose, Ruby and a 
little Violet of Gold. In the center is a very little Yel- 
low with a few tiny spots of Orange Red. 
The leaves and stems require Deep Blue Green, Brown 
Green, Yellow Green and Moss Green. Some Ochre and 
Copenhagen Grey might be used in the background. 
