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RERAMIC STUDIO 
CHERRIES (Page 147) 
Jeanne M . Stewart 
IT is important in painting cherries to keep them 
bright, crisp and transparent. Dresden Yellow, Red 
and Pompadour 23 will make the brightest tone, shaded 
to Pompadour with Stewart's Pompadour and a little 
Ruby Purple in darkest cherries in shadow. I^emon 
Yellow is used in lightest tones also a little Yellow Green 
in those cherries not ripe. 
The usual greens are used in the leaves with Yellow 
Brown, Chestnut Brown and Pompadour where an old 
withered effect is desired. The background may be 
kept in soft greys or greens, keeping it very dark at one 
side or under prominent portion of design. 
The lightest side should be padded off into a delicate 
ivory yellow so none of the white china is left. 
A few shadows thrown in last fire with a grey made 
of S. Pompadour and Banding Blue, padding some of 
the edges into the background, gives a pretty finish. 
MOUNTAIN LAUREL (Page 145) 
Harriette B. Burt 
FIRST Firing — Outline designs with Blood Red and a 
little Violet. Paint leaves in with Brown Green and 
Shading Green. The stems are Violet and Brown Green. 
The flowers are Rose very thin, shaded with Violet and Blood 
Red. The background is Blood Red and Grey for Flesh. 
Second Fire — Wash Rose over flowers and using Yellow 
with Rose toward center of flowers. The stems are Blood 
Red. Go over leaves again washing them with Yellow Green 
and Brown Green. Go over background again with Blood 
Red and Violet. 
CUP AND SAUCER— A W. HECKMAN 
First firing: oil design except the mushroom shape form. Dust this with Sea Green, one part; Deep Blue Green, two 
parts; Copenhagen Blue, one part. Then oil the mushroom shape form and dust with Apple Green, one 
part; Deep Blue Green, one part; Ivory Glaze, two parts. 
