KERAMIC STUDIO 
22^ 
DESIGN FOR FISH PLATE 
Adelaide Alsop-Robineau 
GROUND, dark blue and grey blue; for the dark blue use 
Banding Blue }j, Copenhagen j4, ; for the light blue, 
Copenhagen thin. Lobsters and crabs, Pompadour Red ; 
bands of Coral Red (LaCroix), black outlines. 
Or, ground, dark and light green lustre; lobsters and 
crabs, rose lustre first, orange lustre in second fire ; bands of 
orange lustre, outlines black or gold. 
Or, ground in two shades of brown; lobsters, olive green; 
crabs, red_; and bands, orange. 
TREATMENT FOR POSTER PLACQUE 
[HEAD ADAPTED] 
Henrietta Barclay Paist 
THE original placque was painted in Gouache colors. It may 
also be done in glazed colors and olors, for both are given. 
Draw the design carefully with India ink, so it will not rub in 
working. The Gouache colors used were: Mixing Yellow, 
Pompadour Red, Chocolate Brown, Brown Dark, Old Ivory, 
Olive Bronze Green and Black. For the flat flesh wash, mix 
Mixing Yellow and Pompadour; for the hair, Chocolate 
Brown and Brown Dark; paint the drapery with Olive Bronze 
Green. Next cover the background (leaving the disk of gold 
and the design of oak leaves around the edge), with grounding 
oil. Pad thoroughly, so as to make it perfectly even. Dust 
with Chocolate Brown. Then paint the leaves and acorns 
with Olive Green, Chocolate Brown and Brown Dark, using 
Old Ivory for lights. For the first coat of gold disk, use 
liquid Bright Gold, as it makes a good foundation for a flat 
gold surface. For the second fire, strengthen and smooth, as 
it may appear weak and uneven. Leave the outlining for the 
last fire, as it will probably need a third fire. Outline strong 
and evenly ; no suggestions of shading in the outline, but firm 
and even. 
To do the placque in glazed colors, use Pompadour Red 
and Albert Yellow for flesh, Brown Green and Shading Green 
for hood, Fry's Meissen Brown for background, and for leaves 
and acorns Meissen Brown, Chocolate Brown and Brown 
Green. The placque may be done in two firings by outlining 
the painting and drying for the second fire ; but if the outline 
is not strong and even, repeat and fire again. 
TREATMENT FOR RED ROSES 
Let a H or locker 
FOR the first painting model the roses in deep or ruby pur- 
ple, with the brush mix a little pompadour red with the 
purple, this keeps the purple from being harsh or intense, be 
sure your color is well ground— ruby is apt to be grainy. 
Paint the center part by laying the color heavier, in the 
darkest places where more depth of color is desired use 
finishing brown or black, taking care not to have the color 
thick. In repeated firings this is apt to oxidize and remain 
unglazed, and again chip off. Keep the lightest petal clear — 
if pinkish use rose or rose pompadour. If there are any bluish 
lights use Copenhagen blue. Should an outside petal show 
joining to the calyx, shade this part with yellowish green and 
shading green, keeping it light. 
Second painting, after first fire, if the roses are to be dark 
and rich in color, wash them over with Pompadour red, accent- 
ing the darkest parts with the finishing brown or black. Keep 
the lightest petals clear. Fire very hard for first fire. 
Third painting after second fire, apply a wash of deep or 
ruby purple over the rose and over the lightest pinkish petals, 
such as are often seen on the American beauty rose, give a 
wash of rose or carmine. Sometimes this wash of rose over 
the entire rose may be used to good effect, giving a glaze and 
glow to the color. 
The secret of a good effect in painting red roses is to 
have the color washed on freely, and not stroke and restroke 
it over and over after once laid. The best results are obtained 
by good modeling and well laid color in the first painting, 
with careful consideration for the lights and shadows. 
