KERAMIC STUDIO 
39 
No. I has a pale lavender stripe, the medallions in a 
darker shade, the design in white, and all outlined in dark 
dull purple. The plain stripe between has, in the original, a 
cream ground with a running "all-over" vine in pinkish lavender. 
No. 2 has the stripes in dull lavender, the fleur de lis 
ornament and the ornament below in a darker shade, the 
ground pale yellow brown, the six pointed ornament in a 
darker shade of brown, the edge being a still darker shade, 
the pineapple figure in center buff, and all outlined in black. 
No. 3. Ground, lavender ; stripe, darker shade of grey; 
ornament, yellow and black outlined in silver. 
No. 4. This design had a lavender stripe on either side. 
The flowers are painted alternately in two sets of colors on a 
pearl grey ground. First, flower dark orange and black, light 
orange leaves and stems ; second, flower light red and black, 
stems dark red ; all outlined in gold. 
The little figures, Nos. 5, 6, 7, 8, are best done in neutral 
tints and outlined in black. Use browns, greys, dull greens, 
reds and blues. 
No. 9. This mediaeval figure had a white lace head dress. 
The colors in dress are yellow, orange, pumpkin ; the light 
lines a greyish lavender; the design elaborately worked up 
with two shades of gold, silver and black; belt and collar of 
lavender. This is a good decorative figure for a vase. You 
can find a male figure to balance it in No. 10. 
No. 10. Dark blue gown, orange collar and facings to 
over-sleeves, vest and sleeves plum color, black cap with gold 
ornaments. 
Be sure and look up a mediaeval design to use in connec- 
tion with these figures, to make the whole decoration hang 
together. 
TREATMENT OF PERSIAN PLATE DESIGN 
THIS design must be carefully and accurately drawn before 
the paste or color is laid on. The work then will go 
very quickly. Outline the design in fine lines of raised paste, 
using an outline of raised dots about some of the figures, 
giving variety and elegance to the decoration. A very dark 
rich blue can be laid where the darkest parts of the design are. 
This blue resembles the deep tones of Cobalt underglaze, and 
is obtained by using Lacroix Dark Blue, a touch of Deep Blue 
Green and enough of Ruby Purple to make the mixture darker 
and richer. This blue will have to be put on in two washes, 
to obtain the desired effect. The circles representing jewels 
are in white enamel, and it would be better to surround each 
jewel (enamel) with a fine setting of raised dots, very small, 
and near together without touching. The enamel in the heart 
shape ornament should be Turquoise in color, obtained by 
using a mixture of Night green and Deep Blue Green (La- 
croix). Apple Green and Mixing Yellow make a fresh beauti- 
ful green, and this mixture may be used in parts of the design. 
Different combinations of color can be used, and the design be 
used in part, or as a whole. To obtain a rich oriental effect 
the spaces left white can be filled with gold, which will add 
great brilliancy to the effect of the plate-. The design may 
be filled with colored enamels, and it will also be useful for a 
white and gold decoration. 
SPECIFIC TREATMENT FOR ARBUTUS 
Mary Chase Perry 
LAY in the little flowers in masses, modeling the shadows 
with Moss Green, White Rose or Copenhagen. Make the 
little centres of Egg or Silver Yellow, with a touch of Yellow 
Ochre or Yellow Brown to give depth. For the pink petals, 
use Rose, letting it soften into the green. In the second firing 
some deeper accents may be added by a touch of Ruby. Paint 
the leaves with Moss and Brown Green, with Shading Green 
used sparingly. Carry out the treatment very simply, making 
as few touches with the point of the brush as possible. It is 
a temptation to work up finical details of small flowers, but 
by so doing, one loses both strength and delicacy. Work the 
background with tones of Russian Green, Yellow Brown and 
Copenhagen, varying the colors so as to keep the study in 
harmony. 
•f "f 
FOR BEGINNERS 
TINTING 
THERE are at first a few things in the decoration of China 
that may seem like drudgery to the beginners, but in a 
little while, after a slight acquaintance with the mediums, 
there will be the inevitable fascination and the constant desire 
to advance. Even with tinting alone one can make beautiful 
things, for instance, the small after dinner coffee cup in rich 
ruby, with only the gold handle and a gold band. 
To obtain a dark tint upon China, the better way is to 
dust the color on (please do not say "dry dusting"). First, 
with a flat tinting brush, go over the surface of the China with 
a thin coat of English grounding oil, pad it very carefully 
over and over again with silk dabber (a ball of cotton covered 
with old silk hankerchief) until the oil seems " tacky." Then 
after allowing the China to remain for ten minutes, shake the 
powder eclor over the oil, using a piece of cotton (or brush 
for that purpose) to smooth the color, always keeping plenty 
