146 
KERAMIC STUDIO 
in bringing her forward in the composition. A point can be 
gained for this effect by choosing warm coloring for her gown 
and contrasting it with a cooler scheme for figures farther back. 
The first figure at the left will have a gown of delicate 
green blue with a white front. Lay shadows of the latter 
delicately with silver gray. The few deep shadows a delicate 
purple (Violet No. 2 and Deep Blue Green). For the lace 
effects use the same colors with Violet of Iron and Yellow 
Brown in a few of the darkest touches. The robe proper may 
be painted with local color (general lights) of Deep Blue 
Green and Apple Green or Fry's Russian Green. The half 
tone shadows Deep Blue Green and Violet No. 2, with about 
one-third Silver Gray, added to soften color and to supply 
glaze. The deepest shadows Violet No. 2 and Violet of Iron 
with a touch of Deep Blue Green. Be careful to keep the 
silver gray out of the deep shadows, as in the fire this color 
will destroy the Violet of Iron. 
The young cavalier may have a white satin waistcoat, 
embroidered in gold, white shoes and hose, gray breeches, 
gray blue coat with gold embroidery, white satin cuffs, gold 
embroidered, and cream lace. 
Leave the china for white of the waistcoat, depending 
upon sharp lights and folds to give the effect of satin. Use 
blue for the half tone shadows, purple for the general dark 
shadows and a touch of Violet of Iron and Yellow Brown in a 
few of the very darkest accents. The cream lace may have a 
faint skim of yellow brown fluxed with gray, purple halftones 
and reddish yellow shadows. This constant repetition of the 
warm dark shadows gives harmony just as a repetition of gray 
half tones helps to give atmosphere. 
The coat could be beautifully painted with La Croix's 
Rouen Blue or a dull old Delft Blue. The former fires with dif- 
ferent shades when it is used in different degrees of strength, 
giving charming variety without using any other color, ex- 
cept perhaps some touches of warmth in the darkest shadows. 
The breeches may be painted with silver gray lights, cool 
shadow for flesh in the medium tones and the same reddish 
yellow touched into a few of the darkest accents. 
The figure on the right may have a pink crape gown with 
pale yellow front and old cream lace. Use for high lights of 
pink a mere skim of pompadour with one-half flux added. 
The half tones Silver Gray with a little " Rose" or Carmine 
added, and the deep shadows pure Violet of Iron. A thin 
wash of Albert Yellow over the front, silver gray shadows 
with a few warm accents, (Violet of Iron and Yellow Brown), 
in this case letting the Yellow Brown predominate to give a 
better effect for yellow drapery, on the same principle that the 
yellow brown was omitted in the deep shadows of the pink 
drapery. The feather in'the hair may be pink or yellow, pale 
in either case. 
Paint broadly for the first fire, but have every important 
shadow and line absolutely correct as the large, general masses 
and lines follow the figure. Think little of the fold and line 
itself, but think much of the form that gives these masses and 
lines. Read carefully and understand the above sentence. 
In it is the most important direction for the study of drapery. 
The subtleties of color and texture are as naught if this is not 
considered always of primary importance. 
The ornaments on the cabinet may have a repetition of 
all the colors used, or of only part. Brown Green would 
furnish some new contrasts without disturbing the harmony. 
Use plenty of the wall colors to subdue and put them back. 
In painting the cabinet use sufficient Violet of Iron and Dark 
Brown with the grays to represent mahogany, and these colors 
with a little Dark Green in the deep shadow under the 
cabinet. The polished floor should be a general scheme of 
yellowish grays, repeating and reflecting wall color as well as 
a slight reflection of the pinks, blues and whites of the 
draperies. Carefully join the lower background to the upper 
that it may show as little as possible. In the succeeding 
painting make your joining at another point. 
Take greatest care to have all your lights cleared out for 
the first fire. Have the lace, hair, and high lights of the 
fabrics all lighter than you need them. By this careful atten- 
tion it will not be necessary to force any of the high lights 
with enamel. This also leaves pleasant opportunity to model 
and work out detail in the later paintings. 
For the second and third fires still paint broadly, accent- 
ing the shadows and getting the relation or value of shadows 
to each other. If a given place seems too green wash it with 
violet. If too red with blue grays or dull greens, (Dark 
Green or Brown Green). In places not properly glazed use a 
wash of Apple Green or of Silver Gray, or a thin wash of the 
previously used color, this time highly fluxed. 
Plan for three fires. The first one should be very hard to 
establish a glaze, and if this is established at first the succeed- 
ing fires need not be quite as strong. If a fourth fire is 
needed it should be only that there may be a touch or wash 
of color here and there to accent a shadow or tone some color 
into harmony with the general scheme. Also some touches 
may be needed to perfect the expression or coloring of the 
faces. In fact the paintings that succeed the first careful one 
are not only to hold lights and deepen shadows that strength 
may be given to the composition, but it gives the opportunity 
to study glaze and harmony. All these points can have 
thoughtful attention and together be brought forward to a 
perfect finish. 
TREATMENT FOR CHAFING-DISH BOWL 
Helen M. Topping. 
THIS design was made especially for a chafing-dish bowl, 
although it can be adapted to other pieces. The bowl 
rather shallow, with flange or shoulder, which the border just 
fits. After sketching your design, outline the entire design 
with Dark Blue, using a touch of Black to tone, and mixing 
with turpentine only. The flowers are painted in Dark Blue 
enamel, and should be laid on broadly, giving a darker tone to 
the petals in background. For flowers use Dark Blue, touch 
of Brunswick Black and one-eighth Aufset/.weis (in tube). 
Mix with turpentine only. They should be raised slightly 
and in color a rich dark blue, as in fact should be all 
the blue used. For leaves use Apple Green, Mixing Yel- 
low, touch of Deep Chrome Green 3 B, one-eighth Aufset- 
zweis, mixing as before. The centers of flowers should be a 
pale yellow. The alternate figure is made of the Blue Enamel, 
except the terminals, which are of the Green Enamel. The 
central design is alternate blue and green, the trefoil figure 
being blue with a point of green through the center. The 
outer border is of the green enamel, the inner one of blue 
enamel, the line between being dark blue on the white ground, 
this being the only place where the white of the china is left. 
The center of the bowl is tinted all over with a soft grey tone 
(use Yellow Ochre, Brunswick Black and Dark Blue, mixing 
with Balsam of Copaiva and one part Oil of Lavender). Be 
careful that your background is not harsh in color, as much of 
the beauty of the bowl depends on the tone. If you prefer, 
you can use Marsching's Yellow Lustre for this background, 
instead of the grey. This design is suggested by the Chinese, 
and like most conventional designs, needs the colors to show 
the effect. 
