34 
KERAMIC STUDIO 
TREATMENT OF FIGURE BY CHAPLIN 
Flesh Palettes. 
(Mrs. Vance Philips) 
LACROIX 
PRY'S 
POWDER COLORS 
(Mrs. Aisop-Robineau) 
Blonde 
fPompado 
in" It] 
IX 
Carnation 1 1 
Canary ) % " 
IX 
Flesh 1 
Brunette 
jPompado 
(Yel. ochre 
urlf] 
W 2 A 
IX 
Carnation 1 | 
Yel. ochre 2 f 
IX 
Flesh 2 
Pomp. 2 
fPompado 
(.Flux 1 
ur 1 
Carnation 1 
Flux 1 
Pompadour 1 
Pomp. 1 
fPompado 
[Flux 1 
rr 3 
Carnation 3 
Flux 1 
Pompadour 2 
Reflected 
Ligh 
I Pompadoi 
L 1 Vcl. brow, 
r If) 
H/ S fli 
- 
Carnation 1 ) 
Wo fll 
Yel. brown 2 ) ' 
* 
Reflected light 
Cool 
Shadov 
( Turq. gree 
A Violet ofir 
( Grey for flc 
11* 1 
onlUflt 
sh 1 \ 
X 
Deep blue green 1*1 
Violet of iron 1 
Neutral grer 1 
n4 
Cool shadow 
Tender 
Shadow 
( Cool shad< 
A Pearl grey 
( Touch oft 
1 
u-q. green 
Cool shadow 1 
Pearl grev 1 
Touch of blue green 
Tender shadow 
Warm 
Shadow 
( Sepia brow 
' \ Violet of ir 
on 1 
Sepia brown 1 
Violet of iron 1 
Warm shadow 
Brown 2 
I Finishing 1 
) Flux 1 
irown 1 
Brown 4-, 1 
Flux 1 
Raven black % 
Brown 1 
Brown 1 
\ Finishing 1 
\ Flux 1 
rown 3 
Brown 4, 3 
Flux 1 
Raven black % 
Brown 2 
Note— In flesh palette, the numbers refer to the proportionate parts. * means 
a little more and f a little less than one part. 
If you are using other makes of colors, refer to our color chart. 
Brushes. 
1 set (6) miniature quill brushes. 
1 set (6) slanting deerfoot stipplers in quill. 
Square shaders 2, 4, 6, 8. 
Take court plaster and bind the stipplers halfway over the hair, like a collar, 
to make them firm. 
Use for medium a mixture of Balsam of Copaiba (6 drops) and Oil of Cloves (1 
drop). "Use also Spirits of Turpentine in the brush in painting. Rub the colors 
down with medium ; this will keep them open and fresh for a long time, if you keep 
your palette covered. Use for a palette a (i by (> tile, divided, marked and fired as 
in the cut. Several of the mixtures look much alike before firing, and without file- 
names fired beneath, there would be great trouble in distinguishing between them. 
1-EESH1. | Kl.KSH,,. 
COO.- SHADOwj'rENDEU SHAD. 
WARM SHAD. 
The subject, "Venus and Cupid," is peculiarly adapted 
to a loving cup, but the shape of the panel would fit well in 
the center of a tray, or would make an effective panel for 
framing. 
First make a careful tracing of the figures on gelatine 
tracing paper, making all lines dotted, marking on the dark 
side of edges. Fix this in position on your piece of China 
with two pieces of gummed paper at the top, so that the trac- 
ing can be lifted to see if it is correct. Take a piece of light 
brown wrapping paper about two inches square; rub a little 
of the medium well into it. Then take soft lead pencil and 
blacken it well. This can be used from time to time by rub- 
bing afresh with a very little medium on a rag. Slip this 
under the tracing, the blackened face to the China, and go 
over the tracing with a steel or ivory tracer, moving the 
leaded paper from place to place as you progress, looking 
beforehand to see if all the drawing in that section has been 
traced. When the outlines are transferred to the China in 
this way, take a fine liner and go over the drawing with India 
ink. Remember to make all lines clotted so that you can see 
if all color is well blended and no hard lines left at edges. 
Now wash off your china with spirits of turpentine, and you 
are ready to begin to paint. 
Now cover the background with a thin wash of medium, 
padding lightly with finger to make it even. Use spirits of 
turpentine in your brush with medium. Take your large 
square shader and brush tender shadow into the background 
all over. Into this, work canary yellow next the figure, then 
yellow brown, pompadour and blue green. Take your largest 
stippler and blend one color into another, working from the 
yellow into the blue. This will make a rather bright back- 
ground for the first fire which will be toned later. When this 
is sufficiently blended, wipe off the figure, drapery, birds, &c, 
so that they will be free from color, with the exception of a 
little left over the edges of the hair. If you are a beginner, 
it will be safer now to dry the china over an alcohol lamp or 
in the oven, to keep safe from dust or rubbing with the 
fingers. 
Now treat the figures with medium, as in the background, 
padding even with finger. Take your largest miniature brush 
and paint over the parts in light with local flesh No. i, over 
the parts in shadow with reflected light, and break in the 
half tones between light and shadow with tender shadow. 
Put Pompadour No. 2 in cheeks, ears, tip of nose, chin, finger 
tips and all rosy parts. Work rapidly and lightly and do not 
try to blend smooth. Put tender shadow on eyebrows and 
wherever the flesh and hair meet. Now take your fourth size 
stippler and go lightly over flesh until blended softly, stippling 
the clear flesh first, then the tender shadow, and last the 
reflected light. After this is pretty well blended, take a 
smaller stippler and model the form, taking out the high lights. 
If the color seems to blend off too freely, wait a little till it 
dries somewhat. The beginner can stop here with the flesh 
before firing, if she does not dare to work over the flesh. Of 
course the features will have to be worked up somewhat as 
described later. The more advanced can now take a No. I or 
No. 2 miniature brush and strengthen the shadows on the light 
side of face and figures with tender shadow, on the shadow 
side with cool shadow, a little more pompadour 2 in cheeks if 
necessary. Make the brush strokes follow the forms of the 
muscles. Stipple lightly immediately after laying in color to 
avoid hard lines. After the figure is modeled as well as pos- 
sible in this way, take finishing brown I and paint in eyebrows, 
eyelashes and eyes, stippling to avoid hard lines. Put a little 
