RERAMIC STUDIO 
Green and Mixing Yellow for the leaves with an occasional 
touch of Brown Green, the steins are painted a little stronger, 
so that the lines of decoration, which they make are rather 
pronounced, distributing and balancing the spots of color and 
making the proper proportion of dark and light with refer- 
ence to the background and the design. 
Then model the roses in the outer band and the inter- 
twining stems with paste (mixed with a very little Dresden 
thick oil and thinned with common Oil of Lavender.) 
The modeling of the high lights on the roses should be 
sharp, but not raised too high, as that will give a cheap ap- 
pearance to the plate; the little stems are perfectly smooth 
to the touch, although they are irregular with thorns. Great 
care must be exercised in making the fine beading or paste 
dots that edge the blue bands, and they must be absolutely 
smooth to the touch after the fire. Raise them only slightly, 
as they look higher under gold (which reflects the light) than 
as dull paste. The tiny roses in the small medallions are 
treated the same as the larger ones, with Carmine No. 3. 
For the last fire, the roses are strengthened in the shadows 
with the same Carmine No. 3, but the washes in the original 
plate are rather flat, as there is a delicate outline both 
on the roses and leaves, which gives a more conventional 
appearance. 
The outline is Pompadour Red with a touch of black, and 
is used very delicately indeed. For the enamel in the settings, 
use Aufsetzweis two-thirds, and Best English Enamel, one- 
third, colored only very slightly with Carmine No. 3. 
CUP AND SAUCER DESIGN 
C. Bab cock 
RIMS, handle, legs and medallions in gold. Medallions can 
be omitted if desired, otherwise the design upon them 
should be carried out in enamel to harmonize with balance of 
design. Flowers in violet and leaves in a green gray. The 
entire design outlined in brown. 
C,B«6toci<, 
