24 
RERAMIC STUDIO 
on porcelain and only the design and technique were taken into 
consideration. This department was an innovation and from 
results we judge the Guild to be satisfied. Those exhibit- 
ing were Mrs. Mary Alley Neal, a few pieces in dull lustre ; 
Miss M. Mason, a vase, bowl and plate, described in March 
number of Keramic Studio; Miss Catherine Sinclair, plates 
with simple designs in delft blue; Miss Peacock, cups and 
saucers and plates in simple designs of dark blue; Mrs. Leonard, 
plates and bowls, designs given in Keramic Studio. 
The exhibition of bookbinding was an unusually fine one 
and was confined entirely to the Cobden-Sanderson school. 
The principal feature was "The Ideal Book," written by Mr. 
Cobden-Sanderson, printed at his press, bound in his bindery 
and decorated with his own design. This book was in the 
centre of one of the cases and was surrounded by books bound 
by Mr. Sanderson's pupils who have studied at least a year 
with him in the Dove's Bindery in London. All the pupils 
except one who have completed their course with him were 
represented. His American pupils showed beautiful bindings 
decorated with blind and gold tooling. All the books were 
distinguished by their simplicity, though one of Miss Preston's 
had a doublure elaborately gold tooled. 
ROSE STUDY— (Supplement) 
F. B. Aulich 
FOR the study of La France Roses published with this num- 
ber, use Aulich's Rose with some Turquoise Blue for the 
more distant petals and Albert's Yellow for the reflected lights. 
For the darker rose on the left hand Aulich's American 
Beauty Color. 
Then take Blue Green for the right side of the background, 
mixing in Dark Blue, Olive Green and Black Green for the 
left corner, then let it fade off into Albert's Yellow and Yel- 
low Brown in the foreground. The leaves are partly painted 
with Yellow Green, Blue Green, Olive Green and Yellow 
Brown, the stems with Crimson Purple. 
Use the Rose very thin and delicate as it is a very strong 
color and needs a strong fire. If fired too lightly it will have 
a yellowish or bluish tint. The first fire should always be the 
hardest so as to have a good foundation. 
For the second painting use a large brush and go over 
the whole surface with broad washes, using the same colors as 
before and blend all together with a pad, then take a pointed 
shader No. 5, dip lightly in turpentine or a little medium and 
wipe out the lights. 
Take a No. 7 square shader and put in the depth with 
Rose for the roses, and a little American Beauty and Pompa- 
dour for the centers. Use some Grey for white roses for the 
turned over petals, and Yellow Brown for the reflected lights 
where the Yellow was used in the first painting. Shade the 
leaves with a mixture of Yellow Green and Yellow Brown in 
the foreground. With a so-called stemmer or long thin brush, 
shade the stems with Pompadour. 
When almost dry put some powder colors on a palette, 
and with a little cotton blotter rub them lightly over all the 
parts you wish to soften or darken. If you want a special 
high glaze rub in some soft Flux over the entire surface be- 
fore firing. 
TREATMENT IN WATER COLORS 
RJioda Holmes Nicholls 
The thin Whatman's paper is on the whole the most 
desirable for this particular kind of water color work ; if placed 
on a sheet of wet blotting paper, it remains wet longer and 
the quality is generally fuller than when painted on dry paper. 
The whole composition should be lightly drawn on with Rose 
Madder or Cobalt Blue, the local color of pink washed over 
the roses, while still wet the rich dark background floated 
in, bringing the wash down to the warm colors in the fore- 
ground. When the paper is covered, return to the roses, 
washing out the principal lights and as the color dries wash in 
the full darks of the center. The colors to use are Rose 
Madder warmed with Vermilion, and the shadows of the same 
colors greyed with Hooker's Green No. 2. The front rose 
must be more strongly painted than the other two, that is, 
the lights will be lighter, the darks less dark and the color less 
brilliant. The deepest darks are painted with Aligarin Crim- 
son. The latter color is largely used in the deepest red rose. 
For the leaves in the foreground use Hooker's Green No. 2, 
burnt Sienna, raw Sienna, outline with some warm color like 
Aligarin Crimson and burnt Sienna. The colors in the back- 
ground are Hooker's Green No. 2, with Brown Madder and 
Indigo, lift out some lights. This detail in the shadow 
gives transparency. The outlines of the roses are important. 
The drawing should not be slighted. It is the light masses of 
the roses which first catch our eye, and the form must be 
characteristic. The form of the leaves should be also well 
studied as well as the delicate stems. 
DECORATIVE PANEL BY FREDERICK H. RHEAD 
TREATMENT IN ENAMEL COLORS 
Frederick H. Rliedd 
LET the work be as direct as possible, sketch the princi- 
pal masses and draw the detail in color with the brush. 
The background to be a pale yellow green. The roses in 
the trees, and the skirt of the dress to be painted in a rich 
maroon. Paint the leaves round the roses, the dark stripes 
on the bodice and both the long and short grass, in a strong 
warm green. For the sleeves and the horizontal stripe on the 
bodice use a rich Old Gold or Orange. The poppies in the 
hair may also be painted in the same color. Limbs of trees in 
Van Dyke Brown. Stones and pebbles in three shades of 
Sage Green, almost approaching browns. Ribbons and collar 
in Turquoise. Perpendicular lines in center of bodice and 
dark masses in center of circles on skirt in Cobalt Blue. Leave 
lace and bands white and trace in brown. Scroll in ivory. 
This design is very suitable for sgraffito or pyrography. 
PYROGRAPHY TREATMENT 
Kaihcrin Liver more 
After outlining the figure, work out the background be- 
fore any attempt is made at the figure, otherwise you will 
lose the values; be very careful to leave the outlines around 
the flowers clear and white, otherwise the drawing will be 
entirely lost ; make them, a flat brown tone, all the same, like 
a flat sepia wash. Keep the band back of the figure very light 
and delicate; as you work toward the foreground make the 
burning stronger and more decided. Work the figure out as 
indicated, keeping the gown very dark with the figures in 
same outline; make the line work in the bodice very carefully, 
as indicated. 
If color is desired, use it entirely in the figure, leaving the 
background in the browns. Keep to the greens, blues and 
yellows, a pleasing effect; make the gown a dull blue with 
ornament in green and yellow ochre, introducing same colors 
in the bodice, scroll left in browns ; also the face ; flowers vn. 
hair to be blue and green. 
