RERAMIC STUDIO 
Fig. 6 is a reproduction in values of grey of a Genoese 
velvet of the XVI Century. Here too, we have the stencil 
effect, although it is a woven fabric. The carrying of the back 
ground through the pattern (as in a stencil) reheves tightness 
and offers an opportunit}^ of greater color charm. This method 
of working is very characteristic of the Sixteenth Century. 
Prob. IV — Make two tracings of the textile seen in Fig. 6 
on Japanese or white paper. Paint in the first of these tracings 
in "Light," "Low Light" and "Middle " grej's of the value 
scale. Paint in the second tracing in "Middle," "Darlv " and 
"Low Darlc " of the scale vahie. 
Prob. V — As ceramic workers often deal with flower 
motives, it maj^ be well to make Prob. V a review. Arrange in 
a rectangle ten inches on one side (the length of other side to be 
determined bj' the worker) some flower form similar to the fan 
design on page 127, October number. Use any three values of 
grey of the value scale. Look for the related direction of the 
long lines. Make the movement of every line, if continued, 
drop into the movement of some neighboring line. This is to 
bring about a ryhthmic relation similar to that of phrasing in 
music. One group of related sounds grows out of the previous 
group and in its turn suggests the group following, therebj- 
producing a rhythmic movement. The eye is strong^ affected 
bj^ this in art, just as the ear is similarly influenced in music. 
Avoid many little shapes in a composition. If the flower 
is of the small variety, increase its size to get the right balance 
of areas. Try for the vigorous and the unusvial in j^om- worlc. 
ELDER BLOSSOM STUDY— (Sapplement) 
Marshal Fry 
FIRST Fire. — The first painting is done chieflj^ with green 
and violet. There should be plent^^ of violet used in the 
first painting, as it makes a foiuidation which qvialifies the 
colors which are washed over it afterward and helps to harmon- 
ize them. Wash in the dark in the background and into this 
paint the forms verj? vigorously and crisply, leaving plenty of 
light in the flowers and light part of background as the 
tendency' in subsequent paintings is to darken everything and 
lose the transparency. Use Violet No. 2, Albert Yellow, Frj^'s 
New Green, Shading Green or Brown Green. Leave the 
flowers verj'- light and flat, reserving the detail for the next 
painting. When work is dry, dust with Fry's Graj^ Green, 
Violet No. 2 and Ivory Glaze (the latter used in the palest part 
of background, and over the flowers.) 
Second fire. — Define flowers with mixture of Moss Green 
and Albert Yellow, and any accent on foliage may now be 
added. 
The third painting consists of a thin wash of Sea Green 
to envelop the entire study in a tone of cool green. The wash 
over the flowers should be very pale indeed and also over the 
light part of background, but may be thicker over the dark 
green. When dry dust flowers and light part with Ivory 
Glaze and the darker part with Copenhagen Blue. 
TREATMENT IN WATER COLORS 
Rhoda Holmes Nicliolls 
Before dampening the paper, sketch the design in pencil 
or charcoal, not necessarily every detail but the composi- 
tion and massing, so firmly that when the paper is moistened, 
and afterwards a ground color is passed all over it, it will still 
show in places. The colors to use for the grounding are Indigo, 
Anbucy's Blue, AHgarin Crimson and a very little raw Sienna, 
darkening it where necessary, with a sponge remo\'e the color 
where the white flowers are to be, and as this begins to dr}- 
draw delicatel}^ the suggestions of the small flowers. The 
values must be carefully sought out, as there is little beside 
this to give the delicate rendering of leaves and stems, so much 
of the charm depends upon the qualit}^ of the color. It should 
be sponged down after it has quite dried, with a very soft 
sponge, and then worked into again, accenting the markings 
of the stems and giving little finishing touches to the leaves. 
If the sponge is not soft, the color will appear streaky, and if it is 
sponged before thoroughly dry, it will be spotty and uneven. 
The best way is to dry it thoroughly over a fire. Sometimes 
it is a good plan to take a large dry brush and drag the color 
together to get that much sought for finish called qualitJ^ LIse 
Whatman's Not pressed paper 1401b. 
TREATMENT OF HAREBELL DESIGN 
Miss Emily Hesselmeyer 
THIS design is to be carried on in three tones of Copenhagen 
Blue, darkest parts not too dark. Or, blossoms and 
leaves bluish green, (Apple Green with a little Copenhagen 
Blue); background, or darkest part of design, Copenhagen 
Blue, balance of china a Pale Grey Blue tint. Outlines in gold. 
