S8 
KERAM1C STUDIO 
CHAPLIN FIGURE -Continued 
SECOND AND THIRD FIRE. 
(Sec Tune number for first fire. I 
F your figure comes from the first fire as it should, 
the flesh tone delicate, the tender shadow rather 
blue, the reflected light warmer than the flesh and 
a little too bright, you are ready to proceed. 
Cover the figures with the medium as at first. If 
your flesh tone needs deepening, go over again with flesh I ; 
if your reflected light comes out too cool, brush reflected light 
over the shadow parts again. Warm up the cheeks, chin, tip 
of nose, ears and all rosy parts with pompadour II, put a little 
more reflected light between eyes and brows, then model all 
the shadows on the light side of faces and figures with tender 
shadow. On the shadow side model with cool shadow, put 
tender shadow again along the edge of the hair, unless that is 
already too blue. Now stipple, working from clear flesh to 
tender shadow, from tender shadow to reflected light as before. 
If you find the color blending off too much, wait until a little 
more tacky. When half stippled, that is when you have gone 
over the entire surface with the stippler but have not blended 
completely, strengthen the shadows, adding a little warm 
shadow to the deepest shadows on the Venus, pompadour II 
to the deepest shadows on the Cupid. Model as if painting 
for the final fire. Then stipple flesh till the texture is per- 
fectly velvety and shows no brush or stippling mark. 
Before working up the hair, the background should be 
laid in again. Cover as before with a thin coat of oil and 
work in tender shadow bringing it over the edges of hair. 
Model up the hair of Venus with finishing brown mixed with 
just a little warm shadow, and in the high lights use a little 
yellow brown, suggest the roses in the hair and touch the 
pearls with a few touches of turquoise blue, rose and yellow, 
to give a mellow shadow, leaving a high light on the same 
side of each, and having the shadows also correspond, remem- 
bering that the darkest shadow comes BETWEEN the high 
light and the edge, never ON the edge. When finishing the 
hair, blend the outer edges with a side stroke into the back- 
ground to avoid hard lines and give an atmospheric effect. 
Where the shadow side of the face meets the hair, work a 
little finishing brown II into shadows on face and across into 
hair, to bring them together into a vague shadow. 
On the Cupid's hair use canary yellow, if needed to 
strengthen the color in high light; shade with tender shadow 
unless already too greenish, then shade with yellow brown and 
a little finishing brown II. 
If you wish the drapery white, wash a little local flesh 
over the light part that goes over the flesh, reflected light on 
the shadow part and tender shadow in the half tones. Stipple, 
then lift out the high lights with cotton on a stick, strengthen 
the shadows with the mixture of apple green and carmine II 
(making a warm green), use light violet of gold in deepest 
shadows. If you wish the drapery yellow, use canary for 
local tone and light violet in shadows. For pink, use rose and 
a little apple green in shadows. For blue, use turquoise green 
and a lfttle yellow brozvn in shadows. Always use comple- 
mentary colors in shading. The three primary colors are red, 
blue, yellow. No color scheme is complete without all three 
in some combination. To find the complementary color to 
any one color, combine the other two. 
YELLOW — 
BLl'K — 
1 VE1.1.UW 
I K B 1 1 
I K E 1 1 
I VELLOW 
For the wings of the doves and Cupid, use the apple g 
and carmine mixture and a little finishing brozvn for strength- 
ening. Work up mirror and bow and arrow with cool shadow 
and finishing brown. 
The eyes can be worked up with finishing brozvn and 
warm shadow, using a touch of German black in pupils. Stip- 
ple the lashes and eye brows a little, so they will not be hard. 
The mouth will need a little more pompadour I. Stipple the 
edges, not forgetting that you need a little tender shadow 
where the red meets the flesh. A little more red in the nos- 
trils and ears. Do not forget that the palms of hands and 
finger tips should be rosy, and the bosoms as well, using tender 
shadow to break it into the flesh. 
The third fire is simply for strengthening the work already 
done. Put on the oil as before and work in just what is needed 
and no more, warming where too cool, cooling where too 
warm, deepening and strengthening shadows and color. Re- 
peated fires give softness. Four or five fires are not too 
many and you will always see something to improve. Be sure 
your first fire is a hard one. Your second can afford to be 
hard too, even if it fires out the painting somewhat. The rest 
of the fires need not be more than ordinary. 
A last word. — Keep colors soft in tone and AVOID HARD 
EDGES. 
*> •? 
TREATMENT FOR CHOCOLATE POT 
DRAW very carefully the design upon the chocolate pot in 
India ink, leaving the medallions white, tint with a 
Turquoise Blue the upper band, and the alternate spaces 
between the dotted lines. To obtain a beautiful Turquoise 
B'ue use a mixture of one-third Deep Blue Green and two- 
thirds Night Green (Lacroix), then add to the mixture one- 
fourth flux. This tint is applied to the china, and padded 
until the color is perfectly even and smooth, then the alternate 
spaces and medallions are thoroughly cleaned. The top is 
tinted a solid blue, so also a band just below the gold edge. 
After putting a thin wash of gold on the handle, spout 
base and top, fire hard, to obtain a perfect glaze on the blue. 
Then draw the design for all the paste work, then paint in the 
medallions. 
Little roses, or any small pink flower will be correct for 
the small medallions, and the figures should be daintily 
painted, making pink the most prominent spot of color. In 
this instance the woman's gown is pink and the man's coat is 
ruby (not strongly.) The foliage and accessories are deli- 
cately handled, to be in keeping with this French style of 
decoration. 
The small baskets, torches, horns of plenty, wreaths, bov 
knots and scrolls are modeled delicately in raised paste. 
The small flowers in the baskets are entirely in colored 
enamels. The ribbon which runs through the spaces is in 
pink, and holds the design together. 
The enamel dots are all turquoise blue, a paler shade than 
the body of the chocolate pot. 
Great care must be shown in the drawing, the lines of 
paste dots with the row of enamel dots between must be 
straight, and the dots of even size. It is better not to attempt 
this style at all, than to work carelessly. Be very particular 
in the use of gold — use only the best and see that there are 
no ragged lines around the paste. Put another coat of gold 
on the handle, spout, base and top, for the second firing. 
Any number of fires will not hurt the blue, and it is better to 
use three fires for this piece rather than try to finish in two. 
