KERAMIC STUDIO 
TREATMENT OF CUPIDS 
L. I 'a nee Phillips 
AS the management of the flesh painting has been given in 
previous studies, only hints on a few special points will 
need to be given. In the painting of the darkest shadows 
very little "warm shadow" is used. In its place medium 
fluxed Pompadour gives the more rosy tone so desirable in 
Cupids. When a sky background is used and some blue 
loosely painted in, it is wise to use extra blue in the cool 
shadows of the flesh to give a more atmospheric effect. This 
effect is still further heightened by having the high lights of 
the flesh very delicate and more yellow than usual. This 
effect is secured by adding extra Canary Yellow to the usual 
flesh tint (blonde). 
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In the management of the Cupids, where there is the fire 
light and the cold light of the gray day, use decidedly blue 
but delicate shadows on that portion of the flesh and hair not 
lighted from the fire brands. These brands, having touches 
of yellow and red flame suggested, will throw pale yellow and 
pink lights on the flesh and hair. Contrast this effect with a 
cool blue gray and purple gray background suggesting also 
snow-flakes. View the work from a distance very often as you 
proceed, and you will have more strength and variety in color 
by so doing. 
GRACE YOUNG 
ROOKWOOD POTTERY FOR PARIS EXHIBIT 
WE present this month illustrations of a few of the pieces 
of Rookwood pottery which will be sent to the Paris 
exposition. This Pottery claims a great advance, both 
technically and artistically, over any former work. 
It expects to show itself thoroughly alive and 
offering the utmost opportunities for the devel- 
opment of individual artistic merit. The present 
mark was adopted in 1886, every succeeding year 
adding a flame point above the mark. In addi- 
tion to the two illustrations herewith given see pages 228 
and 231. 
Ivance, both 
5P 
IiBE WAREHAM 
