26 
HERAMIC STUDIO 
LILY OF THE VALLEY-~H. P. FOULKROD 
(Treatment page 28) 
LESSON FOR BEGINNERS IN REALISTIC AND CON- 
VENTIONAL COMBINED FOR A COFFEE-POT 
Jessie M. Bard 
DIVIDE the pot into four equal parts with the narrow strip 
of paper according to previous instructions. Begin 
under the handle or back of the spout. It should be divided 
around the widest part at the top of the pot and also just 
above where the spout joins the pot, and a perpendicular line 
drawn between the two marks. 
Hold the pot directly in front of you to see if the line is 
straight. Make a careful tracing of one-half of the design 
and trace it on the pot, using the gi'ey carbon or graphite paper 
as previously instructed. 
The design is to be repeated on the opposite side of the pot 
also. Go over the lines with a fine grey India ink line, making 
the necessary corrections in the drawing and doing the work 
as neatly as possible. It is best for a beginner to paint the 
realistic roses in the medallion before doing the flat work 
around it. Prepare your palette with the following colors: 
Apple Green, Shading Green, Grey for Flesh, Albert Yellow, 
Yellow Brown, Yellow Red and Violet No. 2. Use a No. 4 
square shader for the flowers and leaves and a No. 4 or 6 pointed 
shader for the smaller work. Sketch in the design with a 
china marking pencil ; it is best not to trace it, for you will get 
a much more loose and sketchy feeling to your work. This 
can be easily done with a little practice. Sharpen the pencil 
to a very fine point and touch it lightly to the china and you 
can make a very fine line. 
Paint the dark touches around the flowers with Shading 
Green quite thin with a little Grey for Flesh added to it, then 
paint the light leaves with Apple Green and a little Albert 
Yellow. The roses are painted with a thin wash of Albert 
Yellow, shaded on the shadow side with Yellow Brown and a 
little Grey for Flesh. The very dark touches suggesting for- 
get-me-nots are painted with Violet No. 2. When this is 
finished paint in all the darkest tones in the flat design around 
the medallion with Antique Green Bronze, which is put up like 
the gold and is applied in the same way. 
The lighter toned leaves and buds are Green Gold, applied 
quite thin. Outline around the gold is of the Bronze. If you 
are very careful, a thin wash of Yellow Brown Lustre diluted 
with Garden Lavender Oil can be put over the gi-ey tones of 
the roses without disturbing the outlines. This should be done 
after the outline is dry or it will spread. The small touches in 
the center of the roses explained by the lightest tone are Yellow 
Red paint applied rather heavy. This pot is made of French 
china and also Belleek ware. If it is the latter it requires a 
very light fire — a little lighter than a rose heat. 
Second Fire — Burnish the gold with a glass brush; do not 
rub over the Bronze any more than is necessary or it will darken 
the Green Gold. Wipe off all the particles of glass from the 
pot with a dry cloth or they will fii-e in and leave a bad place 
on the ware. Touch up the roses with the same colors as in 
the first fire where you feel they need strengthening and 
strengthen the centres with Yellow Brown and Yellow Red. 
The shadows in the backbround are Violet No. 2 and Yellow 
Brown with touches of Grey for Flesh for the darkest places. 
Stems are Violet No. 2 and Yellow Red. The entire back- 
ground of the pot is to be covered with Yellow Lustre. This 
should be thinned with the Garden Lavender Oil and applied 
quite thin with a No. 8 square shader. Work very quickly so 
it does not become streaked, it can be padded if necessary. 
If you have not had enough experience with lustres to do 
this successfully, the backgi'ound could be painted in with 
Pearl Grey and a little Albert Yellow. Go over all the gold 
with another thin wash. Be very careful not to touch the 
lustre as it will leave the marks of the finger. This design can 
be carried out with the gi'een color scheme instead of the yellow 
by using Light Green Lustre for the background of the pot 
and using white roses instead of the yellow. 
The leaves are painted in the same coloring but the roses 
are handled more delicately. The lights are left, only the 
