KERAMC STUDIO 
125 
TREATMENT FOR LEMONADE PITCHER, CHERRIES 
Henrietta Barclay Wright 
MODEL the cherries with Pompadour and Blood Red, using 
a touch of Copenhagen for the upper and lighter side. 
Leave the light on the under right side for reflected light, to 
be washed over the second time with Yellow Brown. Model 
leaves with Brown Green and Dark Green, glazing for the 
second fire with Moss Green J. Paint the stems with Sepia 
and shade with Dark Brown. The background at the bottom 
of the pitcher is Green, Brown Green and Dark Green. As 
you near the cherries, commence working in Blood Red, shade 
from that into Pompadour, then into Yellow Brown, and 
finish at top with White Rose. Shade the handle same way. 
The cherries may be washed with Pompadour Red for the 
second fire and strengthened again with Blood Red. For the 
darkest ones add a little Ruby Purple and Black to the Blood 
Red. Repeat the treatment for the background, blending 
the colors together each time. The piece should have three 
fires if a dark rich effect is desired. 
CUPIDS IN LACROLX COLORS 
FOR flesh painting, the following colors will be necessary : 
Deep Red Brown, Silver Yellow, Yellow Brown. Ruby 
Purple, Deep Blue Green, Ultramarine Blue, Violet of Iron. 
Brown 4 or 17, Brown 3, Brown 108 and Carmine No. 3. First 
mix Deep Red Brown and Silver Yellow (Silver Yellow is always 
the best color to combine with reds) for the general flesh tone. 
Use the red just a little stronger, because it loses strength in 
the fire. Make two shadow tones, one warm and the other 
cold in effect. For the warm tone use Deep Red Brown and 
Brown No. 3. For the cold tones use a mixture of Ultra- 
marine Blue and Violet of Iron, which must be quite blue in 
tone. For the general shadow color, which can be used with 
either the other shadow colors, or single colors, to modify 
them, use a mixture of Silver Yellow, Ruby Purple and Deep 
Blue Green. This is a most useful combination either in 
flesh painting, flowers or drapery. First take the Silver Yel- 
low upon the palette, then put in the Ruby Purple and 
enough Deep Blue Green to make a perfect grey. This com- 
bination will not lose strength in the fire, and is most useful 
to have always upon the palette. 
After drawing the design carefully upon the china, outline 
the flesh with the faintest possible line of Deep Red Brown 
(there will be no outline after firing), then wash the general 
flesh tone on, making it smooth with the stipler. Then wash 
the shadows in, with the general shadow tone, or shadow color 
as Prof. Maene calls it. There should be extra depth of Deep 
Red Brown on cheeks, lips, elbows and knees. For the first 
firing, in painting the hair, use a thin wash of silver yellow and 
shadow color, with the shadows used in masses (Yellow Brown 
and shadow color). Do not attempt the details of the hair 
until the second firing. Generally on the forehead and about 
the nose there is a blue (or cold) shadow, but there can be no 
set rules, so much depends upon the background or environ- 
ments. The faces of cupids should be rosy and extremely 
youthful ; so avoid hard lines which would naturally age the 
features. Preserve all the curves and dimpled roundness of 
the figure, for therein lies the beauty of cupids. Be careful to 
keep the drawing correct and do not add to the 
myriads of distorted, middle-aged cupids that are so 
frequently seen floating upon impossible clouds or in 
attitudes that to the human frame would also be a 
physical impossibility. In the second fire, emphasize 
the shadows by more minute detail, using the warm or 
cold tones when it is necessary over the shadow color 
that has been fired once. 
In the accompanying study, the drapery is pink, 
which may be laid in delicately with Carmine 3, and 
shaded in the second fire with Carmine 3 and Ruby Purple, 
half and half. The leaves are in rather flat and decorative 
washes of Pale Green, with only enough shading to preserve 
the character. The butterflies may be varied in color, deli- 
cately painted. The flowers are white daisies and, of course, 
the wheat is yellow, Silver Yellow, shaded with a little 
Yellow Brown and shadow color. 
This treatment is entirely decorative, and not meant for 
the more difficult miniature treatment, which we do not 
advise one to attempt without study and preparation. 
TREATMENT OF TEA POT DESIGN IN VIOLETS 
ON the palette it will be necessary to have the following 
colors: Deep Violet of Gold, Light Violet of Gold, 
Deep Blue Green, Mixing Yellow, Deep Blue Brown, Brown 
Green, Moss Green V, Apple Green, Yellow Brown and Dark 
Blue. These are the Lacroix colors; by consulting our chart: 
of colors, the corresponding colors of other firms can be used- 
Violet of Gold when used by itself is rather too pink for 
the general tone of violets, so it is better to use a little Deep 
Blue Green (which is a transparent blue). The darker tones 
of the blossom may be obtained by using with the Violet a 
touch of Dark Blue and very little Ruby Purple (German). 
For the leaves use Apple Green and Mixing Yellow, 
shaded with Brown Green, (for the first fire). These leaves 
are afterwards darkened with Brown Green, a little Moss 
Green V, and Emerald Stone Green. Use Brown Green and 
Moss Green V for the stems. 
The upper part of the tea pot, the lid. handle and part of 
the spout, should be in Gold. The lower part in Copenhagen 
Blue (tint). An outline of Ruby Purple and a litte Black will 
give the violets a conventional character, as there are no 
shadows given. 
