I1ERAMIC STUDIO 
THISTLE DESIGN— MRS. A. W. SLOAN 
TREATMENT OF THISTLE DESIGNS 
K. Liver more 
THESE graceful thistle designs should be carried out as rep- 
resented, burning the outlines, then putting in the back- 
grounds; in the dark ground use any of the heavy background 
strokes — in the lighter, simply stipple with sharp point; next 
add the delicate markings in the blossoms. If color is desired, 
keep the leaves in grey-green and the blossoms in red-purple 
tones. 
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TREATMENT FOR PASSION FLOWER (Page 241) 
Cora Stration 
THE outer petals of the flowers alternate light green with 
creamy white showing through a fringe of Violet No. 
2. For centers use Violet No. 2 for first wash, and second 
firing wash lightly with Royal Purple. Stamens, Royal 
Green. Pollen, Lemon Yellow. Leaves, Royal Green and 
Brown Green with the strongest touches of Shading Green. 
Background, Brown Green and Royal Purple blending into 
Violet No. 2 and Lemon Yellow. 
TREATMENT OF ROSE IN VASE— Supplement 
Rlwda Holmes Nicholls 
THE study of a white rose in a vase, although primarily in. 
tended for a water color study, can also be used for 
china work. The delicate colors of which the white rose is 
composed can be used with almost any background. The 
same thing can be said of the leaves. There are few colors 
that do not harmonize with green — a dull greenish blue would 
be especially beautiful. The colors to use in painting the 
rose are Lemon Yellow, Black, a little Rose Madder, a 
very little Cobalt Blue, and a sufficient quantity of water in 
the brush is a necessity, as dry painting will never give the 
thin full quality of the petals. For the vase use Anbucy's 
Blue, Hooker's Green No. 2, a little Emerald Green, and in 
the light, Cobalt Blue and Rose Madder. The high lights are 
better if lifted out with blotting paper when wet, and deep- 
ened in the darker side as it begins to dry a little. The hori- 
zontal lines in the vase should be put in as the color begins to 
settle with rather a dry brush. The background is always 
one of the most difficult parts of the picture. It should be 
kept wet until the desired color is found, and if it is necessary 
