262 
RERAMIC STUDIO 
TREATMENT FOR BARBERRIES (Pages 248-249) 
Leta HorLockcr 
IN the earl}^ September the barbern- branches are hanging 
heavily with briUiant colored clusters of oblong berries, — 
in all the autumn colors — pale yellow^ orange^ greens, in light 
and dark shades, and luminous scarlets, the foliage being 
warm olive green. As the season advances the berries become 
a darker, richer scarlet, all in the same general hue of color. 
The foliage also changes, becoming lighter in color tones of 
yellow brown, ochres, reddish browns and greens, making a 
beautiful harmony of color for the rich transparent red 9f the 
berries. 
Use Carnation, OrangeRed, Blood Red and for shadow 
tones add Ruby and a touch of Brown or Black to the blood red. 
The barberry permits many varieties of treatment for 
decorative treatment. 
Here is a suggestion in simple treatment, pleasing for a 
small vase or plate border: Tint the vase an all-over tone of 
color for the first fire — ^mix into Silver Yellow, Meissen Brown, 
a touch of Black and Blood Red, making a warm ochre tone. 
This having been fired and being a satisfactory shade of color, 
draw your design. For the leaves a wash of Olive Green, not 
too dark, and the berries, Pompadour with a touch of Black 
to modify the brilliance, apply this thinly for the light berries 
and heavier for the dark ones — ^joining two tones of the same 
color; outline the entire design in black. 
TREATMENT FOR RED ROSES (Supplement) 
Teana McLennan Htnman 
THE original of color study was painted in opaque color 
on tinted paper of a light tan shade. The following 
directions are for opaque color; the treatment for transparent 
color is entirely different. 
A careful drawing is first made with charcoal as the sur- 
face of the paper is very delicate. The first tone is then 
washed over the whole studj^ in clear large washes of red or 
green as the study requires for the shadow of the roses. The 
same color is used in both roses. Van Dyke Brown and Carmine, 
making the color a little deeper in the red roses than in the 
pink; in the red roses a little green in the darkest places will 
give depth. For the half tone of the pink roses a little Pajme's 
Grey often produces the desired effect. 
The greens are always made with the same colors, Payne's 
Grey, Indian Yellow and Prussian Blue, the amount of each 
color varied to suit the requirements of the copj^, as blue will 
make the color colder in tone, j'ellow warmer, and Payne's Grey 
will make it darker. A little Carmine used \\'ith the greens 
gives a depth that adds to the general effect. 
The background is a clear wash of Payne's Grey begitming 
at the top with the color thin and making it stronger, leaves are 
dense. This ground may be changed bj^ using different colors. 
The small leaves and tendrils are of the same color as the back- 
ground, a trifle darker with a clean cut outline. This done, the 
study is read}^ for the Chinese white; for the pink roses mix 
white with saffron and lay in the higliest lights, use square brush 
and keep the stroke of the brush with the modeling of the rose. 
Mix the little green with pinli: for a half tone, as half tone of a 
pinlv rose is one of the important features, be careful to have it 
exact. For the red roses, the same colors are used with a touch 
of Payne's Grej^ in the deepest shade and a little Carmine in the 
lights to give the bluish color of the red rose. Always keep a 
dark rose wet while working at it; in this way the hard lines are 
avoided. The light shade of the leaves is produced with white 
Lemon Yellow and Enrerald Green, the half tones by the Hook- 
er Green and White and a touch of Carmine in the darkest shad- 
ows and Van Dyke Brown, if necessary. 
By following these instmctions and the copy, one should 
make a very good rose study and a picture,although it iriay not 
be an exact copy. One can copy a picture accurately if he so 
desires, but it takes an artist to make of it a picture. 
ANSWERS TO CORRESPONDENTS. 
This column is only for subscribers whose names appear upon our list. Please 
""'^ ~"-^a stamped envelopes for reply. The erlitors can answer questions only 
in this 
All questions to be answered in the Magazine 
day of the month preceding issue. 
ived before the 10th 
Mrs. F. G. W. — For tinting we prefer not to ii.se a rcad.y prepared tinting 
oil as the mixture can be lietter adjusted to tlie surl'ace to he eo\ered and 
depth of color desired, if made on tlie palette wlien ready to tint. Tliegenpral 
rule for tinting is: One-third as much flux as color (except Apple Green, 
Mixing Yellow and Pearl Grey, wiiich need no flnx), as much I'at oil of tuqjen- 
tine as color and flux coinliined, tliin witli oil of lavender until it flows freely 
from lirnsh without h(>ing tacky. For a liglit tint use a little more fat oil and 
lavender. Asl)estos |ihitters are hrid on the bottom of a kiln to make it 
thicker so that it will take longer to heat, gi\'e tlie upper part of kiln a chance 
to heat and so make the china fire more evenly. The water color.s and water 
gold for china liave been used with some success by a few artists l)ut we con- 
sider these mixed with oil much preferable. 
Mrs. C. S. — If you wish your gold \-ery bright you nmst allow nothing to 
touch it. Put your lustre on and tire it first then retouch your lustre and put 
on your paste for raised gold. After this is fired if it is necessary retouch your 
lustre again, being careful not to let it nm over the paste, then put on your 
gold in two good coats. This should finish the piece in good condition, but if 
your gold does not come out rich enough, it is possible to retouch it and fire 
again. 
H. E. B. — Liquid bright gold can be used as a finish coat under Roman 
goki — firing it first. But this gold will not be as rich a- color. There is no 
reason why it will not wear as well — any gold will wear off the handles if con- 
stantl}' used. If you rub flux on a porcelain painting,the reds will disappear . 
and some of the yellows and the iron brownis — the colors called Ivory Glaze, 
Violet Glaze, etc., etc. — will do somewhat the same thing, gixing aglaze and 
monochromatic tone to the entire painting. 
E. M. — ^If your colors rub off after firing they are certainly under fii-ed or 
\-ou use some chemical that has an injurious effect on the color. We do not 
understand the process of photographing on china but refer you to our 
advertisers. 
J. A. C. — Lustre colors come ready prepared in li(|uid form— if too thick 
they may be tliinned with oil of lavender. They maj' lie used over anv fired 
light color or gold but are best oi\ the white china or gold. They do not come 
out well over heavy color. 
Mrs. B. M. — ^You will find a treatment of cherries under the design of 
Thorn Apples by Miss Stewart in Feb. K. S., also cherries by Mary Alta 
Morris in December 1901, and wild cherries by Miss Stewart in March 1902. 
For Fox grapes use Banding Blue, hlack with a touch of Iluby Purple, for 
the lea\'es and stems the same colors with Yellow Brown added. 
R. P. — You will find an answer to your questions on the editorial page. 
We do not know of any literature on the subject. 
A. W. — ^If your pink roses came out a brieky color the plate was under- 
fired. Fire it over again and give it a hotter place in the kiln, the top is cooler 
than the bottom of a kiln. Outlines made in color with sugar and water will 
fire as permanently as with oil and turpentine. Wlien se\eral colors are given 
as background colors, %\\ex are usually put on separateh' and blended into 
eacli other in painting. You must u.se your judgment as to what tone you 
want, it you want a yellowish tone instead of yellow shading into pink, mix 
the coloi*s together. There is a good Grey Green made both by Mis,s Mason 
and Mr. Fry. D K green 7 is a grey green and blue, carmine and yellow make 
a grey green. 
Sister ^I. F. — Your request came too late for the Feb. K. S. You aj-e 
right in suggesting that, when tin}' black specks appear in light colors on china 
and appear to be in the china, that the fire has brought them out — ^your 
specks do not come from dust but from a poor piece of ware. Sometimes old 
china refired does the same thing. You cannot remove the specks. 
Liquid bright silver comes out blurry when put on too heavily or when 
there has been moisture on the piece, as from the perspiration of the hand — 
you caimot brighten it, except to put burnish silver or gold over it. 
M. D. S. — Dresden Relief White "Aufestzweis" in tubes is the most 
reliable enamel. "VMien color is used witli it no flux is needed. Al)out 1-5 of 
color will tint it sufficiently, or less. When no color is used add \ flux, for 
flat enamel use | flux and 1-5 color also. Red is complimentary to green, 
yellow to violet, blue to orange, etc., etc. See Mr. Froehlicli's article on color 
in Feb. number. 
