104 
KERAM1C STUDIO 
have the advantages of starting with us at the beginning of 
the year's work. Before the stress of exhibition labor is upon 
us, you will be in full swing, ready to do your part, and well 
acquainted with the League through this exchange of club 
letters. 
The space assigned the League by the United States Com- 
mission to the International Exposition is not large, but it 
is sufficient for a very general representation of our artists; 
and, if the lines have to be rigidly drawn in the selection of 
our exhibition, let us remember that not only our national 
pride, but the material interests of our art and artists demands 
that our display be distinguished for quality, not quantity. 
Acting upon Director Hurlburt's advice, application will be 
made for each exhibitor. In event of awards the advantage 
is apparent : the individual receives the award. In appear- 
ance in the catalogue, the advantage would be, that, whereas 
application for the National League would, perhaps, occupy 
two inches in a column, application for members individually 
would probably occupy pages. The lists of applicants for 
space should contain full addresses and be in my hands on or 
before September 15th. 
These matters will, I am sure, receive your hearty and 
prompt attention. Mrs. Worth Osgood, 
President National League of Mineral Painters. 
TREATMENT FOR CORN-FLOWERS 
Mary Chase Perry 
Tins quaint flower, long relegated to the old-fashioned gar- 
den, has once more regained popularity and the senti- 
ment formerly attached to it. It lends itself very gracefully 
to all manner of decorative effects, as it is both varied in 
form and many-hued in color. 
The central prominent flowers are creamy white, with pink 
ones at the right ; those underneath the leaves and the mass 
at the base are blue — deepening into purples as they are lost 
in the deep background. Treat the arrangement as a whole, 
letting the color scheme go from light at the top, down to 
strong tones at the base. In this way the decoration will 
consist of a color background, with the flowers as accessories, 
yet holding their own value. For colors use a soft green and 
grey — White Rose and Copenhagen to model the white 
flowers, glazing in the second firing with Ivory Yellow and 
touches of pink and blue as reflected from the colored flowers. 
Use Rose in the pink flowers with green and yellow toward 
the centres; for the blue flowers use Deep Blue and Banding 
Blue, strengthened with Ruby or Roman Purple. 
For greens, use Yellow or Moss Green, Brown and Shad- 
ing Green, keeping the stems crisp and clear. The centres of 
the flowers are an interesting study in themselves; the white 
ones have delicate pinkish stamens while those in the pink 
flowers are often white or pale green. The blue flowers have 
purple ones, with perhaps one strongly marked white one. 
The buds and that part of the calyx which shows in the full 
flower have a characteristic marking which is too often ex- 
pressed with the effect of a cross-bar. A few touches on the 
right side are really all that is necessary to suggest the growth. 
Paint in the background at the same time as the flowers, so 
as to keep all in harmony. Make the light tone above of 
Ivory Yellow and Russian Green, changing into Yellow Brown 
at the left and Gold Grey at the right ; darkening into Copen- 
hagen and Roman Purple at the base. Do not be afraid to 
let the color go directly into the flowers even if you lose their 
outlines. A crisp touch or two with a dry brush will bring 
them back sufficiently and an effect of softness is maintained. 
The shadowy flowers at the left are to be barely suggested 
and then are quite lost in the background. 
After the whole has received the first painting, let it be- 
come fairly dry — in fact so dry that the colors are perfectly 
set and hard to the touch. Then the tints "may be strength- 
ened and softened by dusting on dry color. Often chance 
effects may be taken advantage of or many delightful sur- 
prises may appear. A little experimenting at this stage is 
both fascinating and irresistible, yet always with an under- 
standing of the general demands of the design. Dust with 
the same colors with which the wet color was laid on ; or if it 
appears too cold, use Yellow Brown or Pompadour — the latter 
very sparingly — if it is too warm use blue or Copenhagen. 
The color scheme may be carried out in a lighter or darker 
key as one chooses, so long as the correct values are main- 
tained. For the second firing" paint and glaze so as to bring 
the whole together well, adding more accents in the third fire, 
should it seem to need it. 
Should the design be applied to a vase with a straight 
neck, chocolate pot or tobacco jar, the semi-conventional band 
may be used, developing it in gold or raised paste, or with 
color and jewel effects carried out in the narrow border at the 
lower edge. 
The tiny flowers suggested in the design add a decorative 
finish and as in the original study from nature they grew near 
the corn-flowers and were gathered with them, it is quite 
natural to use them in the same connection. If so, just before 
firing, the little petals and tiny stems may be taken out with 
a sharp pointed stick. This must be done very daintily so 
that the lines will be fine and smooth. At the last firing a 
touch of enamel may be added to them — yet do not depend 
upon that finish to preserve the form of the blossom, but 
rather to accent that which you have already expressed with 
the brush. 
f*ltvU ; yOK'(Z*A//*sif^ . 
