76 
KERAMIC STUDIO 
The accompanying illustrations give only a suggestion of 
the work of the Atlan Club, as it requires the harmony of 
color to bring out the real beauty of the designs, but we hope 
our subscribers will give them careful attention, as we shall 
have contributions from the Atlan members, with comprehen- 
. F. M. Steki.e 
sive treatments, which will prove an interesting study to those 
who arc also following our historic ornament articles, and their 
application to modern design. 
The members of the Club say, that in taking up this line 
of work, they had to lay aside their old ideas of decoration, 
E. L. Humphrey Mks. F. m. Sessions. 
and at first work in the dark, but as study and research threw 
more and more light upon this subject, they now feel that 
they have the true principles of decorative art to build upon, 
and it is most delightful to see their enthusiasm and ambition. 
New Book on Porcelain. — Chinese Porcelain is the 
name of an elaborately prepared book, the work of \Y. G. Gul- 
land, the English authority, imported and for sale by Chas. 
Scribner's Sons. The book is magnificently printed, contains 
485 illustrations,, and is a most exhaustive treatment of the 
subject. It takes up every period of Chinese work and thor- 
oughly covers the question of marks, glazes, characteristics 
and values; it is printed upon book paper and the illustrations 
are superb. — China, Glass and Pottery Review, 
TREATMENT FOR STEIN IN CURRANTS 
Jeanne M. Stewart 
AFTER sketching design and tracing lightly in India ink, lay 
in the background with flat grounding brush, shading 
from Ivory Green to Yellow Green, and shading Green and 
Black Green in darkest tones on base of stein, leaving strong 
dashes of Ivory in sharp lights. 
Carefully wipe out the prominent berries and leaves, and 
the lights of those in. shadow, while the background is still 
wet that they may be softly blended and merely suggested. 
Lay in currants in Lemon Yellow and Yellow Red in light 
tones; Pompadour Red and perhaps a little Ruby Puiple (if 
more of a ruby red is desired) in dark; wiping out high lights 
with fine pointed shader while color is still open and touching 
Chestnut Brown on blossom end. 
Lay leaves in simply in Yellow Green, Blue Green, Olive 
Green, shading Green and Brown Green, omitting detail. 
Add Yellow Brown, Pompadour and Chestnut Brown in 
most prominent leaf which is seared and worm eaten. 
Use Ivory Yellow, Yellow Green, Chestnut Brown and 
Pompadour in stems. 
Suggest cool shadow leaves in Yellow Green and Gray 
for flowers; warm ones in Pompadour and Gray for flowers; 
shadow berries in a light tone of Pompadour. These ma)- not 
be put in until the second fire. 
In the second painting strengthen dark tones in back- 
ground, prominent leaves and berries and bring out detail 
with same colors as in first fire. 
Sometimes a third fire is necessary to give sufficient 
depth of color and softness of outlines. 
IN WATER COLORS. 
After sketching the design lightly in hard lead pencil 
paint in prominent currants with Gamboge in lights, Vermil- 
lion and Crimson Lake in half tones deepened with Carmine 
and a little Black in shadows. 
In leaves paint darkest tones first— being careful to use 
colors dark enough in first wash as much of the clearness is 
lost with repeated washings of color— with Sap Green and 
burnt Sienna in Warm Greens and Sap Green and Indigo in 
cold. 
With clean wet brush blend edges of shadows, which will 
give a soft light tone for lights. If a darker shade is desired, 
use a thin wash of Sap Green. 
The seared brown leaves are accented with touches of 
Yellow Ochre, burnt Sienna and Payne's Grey. Paint the 
prominent stems quite dark with burnt Sienna and Payne's 
Grey. 
In light leaves, Cobalt may be added to Sap Green in 
medium tones and Sap Green alone used in shadows. 
Paint shadow leaves in Payne's Grey and Hooker's Green 
or Crimson Lake. Shadow berries in light wash of Crimson 
Lake. Background may tone from Gamboge to Sap Green 
and Indigo. Aim for clear color and crispness, leaving white 
paper for high lights, or touching them in with Chinese White 
when colors are dry. 
■P •? 
Owen Jones says that the study of Historic Ornament is 
a valuable and instructive aid in building up what we all seek, 
the progressive development of the forms of the past, founded 
on the eternal principle which all good forms of art display. 
